“The way ‘Sweetheart’ approaches the topic of AJ’s sexuality isn’t groundbreaking, but in a world where queer coming of age stories are still defined by the “coming out” part, it feels refreshing all the same.”
“‘Enfant Terrible’ is one of the more successful examples of a director biopic, but the familiar conventions of the genre eventually do a disservice to such a talented filmmaker.”
“Many of us may miss the drama of awards season, but there are untold benefits to criticism if it continues to evolve away from its current state.”
“The most surprising thing about ‘In the Earth’ may be just how much of a return it is to the pitch black humour that characterised Wheatley’s earliest films.”
“‘We’re All Going to the World’s Fair’ would’ve benefitted from leaning more into the ambiguous lines between documentation and constructed fiction, but it remains a fascinating fiction debut nevertheless.”
“‘One for the Road’ feels like a filmmaker trying to capture another director’s voice to the extent that they lose their own in the process.”
“‘Funny Boy’ may seem groundbreaking on paper, but there’s nothing particularly original about this overly familiar and largely reductive adaptation of an acclaimed novel.”
“‘Minari’ might be the best example to date of a film that understands the romantic appeal of a country that claims to pride itself on its immigrant population, and why millions of people worldwide still follow that ideal…”
“There’s a lot to admire about ‘Pieces of a Woman,’ but Mundruczó’s film loses its way as it continues to untether itself from the opening’s grounded realism.”
“If the cinema was responsible for so many happy childhood memories, how could I continue to embrace reminiscing when it was equally responsible for the soul-crushing tedium of a public-facing retail job?”