“Where Pier Paolo Pasolini pushed the obscenity of fascism to levels that go beyond cinema, to something further back into the subconscious history of art and complicity in aesthetics of evil, ‘Dara of Jasenovac’ merely rubs the audience’s noses in misery.”
“The gender-fluid quality of ‘As We Like It’ fits with a future digital landscape that moves beyond binaries, and also with Shakespeare’s own casual approach to the ‘Men Are from Mars, Women Are from Venus’ comedy sub-genre.”
“The art of the hangout movie lives…”
“‘A Colt Is My Passport’ represents a supreme tension between American and Japanese Noir, and asks questions about the past and future of international cinema.”
“‘No Man’s Land,’ Conor Allyn’s earthy effort at a serious revisionist western, is a film of good intentions that goes awry when it attempts to unpack any of its ideas.”
“The total dominance of our digital cinema platforms has forced cinephiles to reckon with their own assumptions and understanding of the medium.”
“It’s the sardonic, versatile Plaza performance that saves Levine’s ‘Black Bear.'”
“‘Another Round’ is a high-concept character piece that dips its toes into national themes, but never long enough to put off the international market it’s clearly geared towards.”
“‘Freaky’ is uneven, but it has moments of magic.”
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”