“‘Motherless Brooklyn’ may not be a sterling example of traditional noir, but its subtext is gripping in its own way. The victim of this crime story isn’t a dead man or a damsel in distress, but the spirit of a city.”
“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
“What ‘Tigers Are Not Afraid’ doesn’t contain in terms of deep characters and real-world specificity, it makes up for with its supernatural elements, allowing its allegory to resonate.”
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
“If part of the horror genre’s mission is to elicit fear through the erosion of safety, then the endings of ‘Hereditary’ and ‘Midsommar’ are the ultimate expression of that mission.”
“Many ‘Starfish’ reviews pick up on the film’s unmistakable exploration of grief, but just as many neglect to mention the other half of White’s semi-autobiographical work and its reckoning with guilt and regret.”
“Attieh and Garcia have ironically made a movie that metatextually gives Sergio the respect he doesn’t deserve. If he were real, he’d be absolutely thrilled to be the star of a movie that’s so unique, and so genuinely cool.”
“No one in ‘Buffaloed’ shines brighter than Deutch, who gives a performance that will completely redefine her as an actress.”
“Just like his protagonists, D’Antoni refused to play by the rules, and he got results.”
“‘The Beach Bum’ is undoubtedly Harmony Korine’s friendliest movie, as the filmmaker tones down his Jean-Luc Godard meets John Waters envelope-pushing tendencies and alienating techniques, yet there’s still a lot of edge to be found in the film.”
