“Despite entertaining directorial flourishes often accompanied by striking stock footage cutaways — from Carl Sagan to a history lesson on African American hair care products — Russo-Young can’t set her hooks into much beyond the postcard images of the Big Apple.”
“One of the greatest pleasures of ‘See You Yesterday’ is that the challenges and complexities of the jumps get better as the story unfolds.”
“‘After’ plays it too safe start to finish. And aside from whatever discussions might emerge concerning the representation of toxicity, masculinity and toxic masculinity, the lack of originality is the film’s Achilles heel.”
“Not all of Clermont-Tonnerre’s story moves hold up under logical scrutiny, but ‘The Mustang’ succeeds despite its familiarity.”
“Whether or not Johnson overcomes the arguments made by James Baldwin in essays contained within ‘Notes of a Native Son’ rests largely with the viewer’s sympathies with the objectives and sensibilities of Wright (and Johnson).”
“Jordan Peele’s ‘Us’ cements the filmmaker’s reputation as a master craftsman and visual stylist. Creepy, funny and wicked sharp, the film’s genre is horror, the ideas are expansive and the execution is clean.”
“Sexism and toxic masculinity are not unusual in this genre, but DaCosta’s emphasis on sisterhood and the presentation of a female point of view turn ‘Little Woods’ into a fresh, must-see cinematic experience.”
“The director handles all the confused attraction with enough sophistication that the plot’s actual direction sneaks up in a manner that smartly defies cliche, as well as the audience’s first likely guess.”
“Whisenant emphasizes the ways in which Young’s quest have led him to meaningful interpersonal relationships and a sense of avocation that transcend his work as a writer of television comedy.”
Greg Carlson Interviews ‘Napoleon Dynamite’ Actor Efren Ramirez
