“Beauvais does what the essay filmmaker ought do: he appropriates film to his own ends. The combination of words and pictures rings nary a false note.”
“At once riveting and entertaining, while inciting in the viewer visceral and arduous self-reflection, ‘Marriage Story’ is an uncompromising and deeply affectionate reflection on what pulls us apart and yet what keeps us bound together despite it all.”
“In dramatizing themes of absence and presence so thoroughly, ‘Klute’ embodies a central feature of neo-noir; as a self-conscious revision of a classic film cycle, noir is always both absent and present in neo-noir films.”
“Judy the Actress and Judy the Icon may have been one in the same after all.”
“‘The Witch’ may be the superior film, but ‘The Lighthouse’ shows Eggers growing by leaps and bounds as a storyteller and visual stylist.”
“From the moment Ramona first appears, ‘Hustlers’ announces itself as a new addition to the neo-noir cannon — a film about bright lights in dark places.”
“Based on ‘Oui mais non’ and ‘S.D.R.,’ Dubé seems fully capable of tackling various genres, and taking the medium forward into the future.”
“‘Waiting for the Barbarians’ is utterly removed from anything of Italy, and yet echoes the most vulgar and despicable parts of film culture.”
“Watching Sleater-Kinney perform 25 years into their existence, it’s clear we need them now more than ever. Amid social upheaval and a resurgence of overt prejudice and bigotry, artists willing to carry the flag of resistance are essential.”
“As a love letter to a cinematic wave of films that were (and are) often dismissed as style devoid of substance, ‘Knife+Heart’ triumphs in both story and genre evolution.”
