“Perhaps David Cronenberg is owed another kind of reputation: that of a humanist filmmaker who observes and questions, who understands our pain and sorrow as well as our ambitions both intellectual and libidinous.”
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“‘Emily the Criminal’ is the most vibrant crime movie to come along since 2019’s ‘Uncut Gems.'”
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“While Stearns’ comedy is frequently dark and sardonic, ‘Dual’ is a bit warmer and more spiritual than the average satire, which is surprising given its subject matter.”
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“Those who’ve come to love del Toro for his auteurist elements may be put off by ‘Nightmare Alley’ — it’s recognizably his film, yet it jettisons the presence of a supernatural element as well as twists the usual empathy found in his movies toward darker ends.”
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“‘Great White’ may not be a groundbreaking or unique film, but it’s made with respect, and that deserves to be reciprocated.”
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“The multifaceted, nuanced quality of music is vital to ‘Last Night in Soho,’ in which people aren’t so easily defined.”
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“‘V/H/S/94’ is a thoroughly decent installment despite its relatively slight nature. It’s a film which invites the audience to have a lot of fun but keeps an air of spooky credibility intact…”
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“‘Medusa’ is so overstuffed that it can’t find a way to tie its myriad conflicting tones together…”
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“‘Dashcam’ unintentionally reinforces the idea that protagonists must be likable in some fashion, even if depiction obviously doesn’t equal endorsement.”
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“Hopefully, as the horror genre continues to grow and deepen, it won’t lose sight of itself as ‘Martyrs Lane’ sadly does.”
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“Like any work of surrealism, one is likely to get more out of ‘Hotel Poseidon’ based on how much one puts into it.”
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“While ‘Old’ never quite fully connects emotionally, the themes inherent in the story help lend the movie the depth it doesn’t get from the performances”
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“It’s fitting that Donner leaves behind a body of work that champions open-mindedness, films that illustrate how everyone is deserving of understanding. With understanding, even the impossible has the potential to become possible.”
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“Masculinity in Mann’s world is its own prison, a conundrum of duality, a question of what someone will stand for and the masks they may wear while striving for an identity.”
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“The single element that carries ‘The Justice of Bunny King’ – as well as saves it during its spottier moments – is Davis, who gives a performance so good that it cements her as being in the top tier of film actors currently working.”
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“If ‘Italian Studies’ is indeed a film about mental illness, with Alina suffering from a fugue state, Kirby’s performance is brilliantly subtle, as it never slides into showy grandstanding or Oscar-baiting dramatics.”
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“‘Mark, Mary & Some Other People’ ultimately has little to say on the big, unwieldy ethical topics it brings up, but it successfully paints a picture of how cluttered and confused dating continues to be…”
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Mannhunting #3 by Bill Bria (‘Ali,’ ‘The Insider’ and ‘Collateral’)
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“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”
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Mannhunting #2 by Bill Bria: “In Mann’s duality of man, cop and robber are, in Stevenson’s words, ‘radically both’ one and the same.”
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