Review: Alexis Cahill and Brigitte Drodtloff’s ‘Queen Marie’
“‘Queen Marie’ may not be a modern historical classic, but its wink-of-the-eye moments subtly inform the audience about the filmmakers’ intent. That, I can appreciate.”
Q.V. Hough
Review: Yimou Zhang’s ‘Cliff Walkers’
“Yimou Zhang’s ‘Cliff Walkers’ looks amazing but suffers from poorly-written characters and stiff performances.”
Review: Mia Donovan’s ‘Dope Is Death’
“‘Dope Is Death’ could’ve benefitted from more cultural context and a broader examination of the Shakur family legacy, but the 78-minute film succeeds with its specific focus on holistic healing.”
Arrow Review: Justin McConnell’s ‘Clapboard Jungle: Surviving the Independent Film Business’
“‘Clapboard Jungle’ could not only benefit up-and-coming filmmakers, but also young writers who are serious about pursuing a career in film criticism. Passion isn’t enough. You need to understand the business side of it all…”
Netflix Review: Ryuichi Hiroki’s ‘Ride or Die’
“Plenty of double-themed movies have been made over the years, but ‘Ride or Die’ seems like an ideal companion piece to ‘Persona.’ Both films are sexually provocative, and both require multiple viewings to better understand the perspectives of each female protagonist.”
Netflix Review: Hoon-Jung Park’s ‘Night in Paradise’
“‘Night in Paradise’ isn’t the ideal movie for locked-down streamers, but it’s one that challenges audiences to find silver linings in dark life experiences.”
Netflix Review: ‘This Is a Robbery: The World’s Greatest Art Heist’
“With ‘This Is a Robbery,’ Barnicle manages to pinpoint what probably happened at the Isabella Stewart Gardner Museum on St. Patty’s Day 1990 while amplifying the long-term mystery.”
Caught in a Bad Romance: On Psychological Horror and Visual Design in ‘Nina Wu’
“‘Nina Wu’ isn’t just a ‘#MeToo thriller’ or ‘slow burn cinema,’ it’s a progressive spin on psychological horror and a master class in visceral visual design.”
Netflix Review: ‘Nate Bargatze: The Greatest Average American’
“Bargatze delivers a strong one-hour set in ‘The Greatest Average American,’ even if he seems more interested in referencing his family and friends than owning the stage with original bits.”
Netflix Review: ‘The Serpent’ Suffers from an Identity Crisis
“‘The Serpent’ fashions itself as a serial killer epic, but feels more like an uninspired Jacques Audiard knockoff that shows little interest in deconstructing the psychology of its subject.”
