Review: Jennifer Fox’s ‘The Tale’
“With ‘The Tale,’ Jennifer Fox addresses a painful subject in a straightforward and clear-eyed manner.”
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Leaning on the Everlasting Arms: On Transcendental Style and Paul Schrader’s ‘First Reformed’
“The power of ‘First Reformed’ is rooted in Schrader’s ability to take a number of clear forbearers — Bresson, Dreyer, Pialat — and twist them into a style that feels wholly unique and rooted in a personal set of values and obsessions.”
Sweet, Satisfying and Sex-Positive: ‘Zack and Miri Make a Porno’ at 10
“‘Zack and Miri Make a Porno’ is a lot like a modern ‘When Harry Met Sally,’ for broke 30-somethings rather than wealthy, super-hot business types.”
‘Scrooged’ Is Still the Most Modern ‘Christmas Carol’
“‘Scrooged’ carries on Dickens’ themes and message in a way that speaks the most directly and urgently to its audience, teaching that “the miracle” of giving can happen to all of us, at any time. Provided, of course, we can turn off the TV for just long enough.”
Love Me or Kill Me: Sex, Death and Desire in Yann Gonzalez’s ‘Knife + Heart’
“Sex and death may be inseparable, but, to the commune of queers and pornographers of ‘Knife + Heart,’ so are sex and life.”
ArteKino Festival 2018 Review: Babis Makridis’ ‘Pity’
“What saves ‘Pity,’ and the ‘Greek Weird Wave’ as a whole, from tipping into nihilism is the humanism at its core; it is the pessimism of thwarted hopes rather than the negative drive of cynicism.”
Ballad of Lee Israel: Marielle Heller’s Excellent ‘Can You Ever Forgive Me?’
“‘Can You Ever Forgive Me?’ is simultaneously suspenseful and laidback.”
Interview With ‘My Foolish Heart’ Director Rolf van Eijk and Actor Steve Wall
Pablo Staricco Cadenazzi Interviews ‘My Foolish Heart’ Director Rolf van Eijk and Actor Steve Wall
‘Hospitality’ Review: Emmanuelle Chriqui Needs More Thriller Roles
“Chriqui proves that she’s ready for the next phase in her career, whether it’s in westerns or thrillers. Take heed, Quentin Tarantino.”
ArteKino Festival 2018 Review: Cyril Schäublin’s ‘Those Who Are Fine’
“Over 71 neatly-distilled minutes, Schäublin emerges as an artist with a keen analytical eye and a knack for mischief hidden beneath layers of despondency and detachment.”