“Its vibrating self-awareness, unwieldy traveling circus vibe and mind-bending movie-within-a-movie duality allow Welles to simultaneously mock and indulge in the critically celebrated, sexually-charged, Antonioni-style, European art film.”
“A thorough, engaging thesis that bridges physical and digital gaps both affirming and sinister, ‘A Self-Induced Hallucination’ is a witty, gripping compilation of collaborative creativity and sterile self-interest.”
“Another stunning work of perfectly placed ellipses and calculated restraint, Pawel Pawlikowski’s ‘Cold War’ is a film filled with images as iconic and austere as its blunt title.”
“Perhaps dismissing von Trier’s work is the right course of action for those that have never found anything to connect to in his films. As for the rest of us (women)… the relationship will only continue to take warped, strained forms.”
“The presence of Binoche in ‘Let the Sunshine In’ is a bit of brilliance that taunts and challenges the viewer; if Isabelle can’t find lasting, fulfilling tenderness and companionship, what chance do the rest of us have?”
“Liminality is the coin of Martel’s realm in ‘Zama,’ and she manages to make the excruciating uncertainty of the long pause an engrossing experience for the audience…”
“With ‘The Tale,’ Jennifer Fox addresses a painful subject in a straightforward and clear-eyed manner.”
“‘Can You Ever Forgive Me?’ is simultaneously suspenseful and laidback.”
“Over 71 neatly-distilled minutes in ‘Those Who Are Fine,’ Schäublin emerges as an artist with a keen analytical eye and a knack for mischief hidden beneath layers of despondency and detachment.”
“Whether ‘All the Creatures Were Stirring’ becomes a festive must-watch remains to be seen, but there’s enough to enjoy for it to be a part of horror fans’ yearly rotation.”
“‘Scotty and the Secret History of Hollywood’ presents Bowers as a credible authority, but the breadth and depth of the anecdotes leaves it all up to the viewer to accept or reject.”
“For many, McQueen’s stylishness will help excuse the rubbery plot holes, lapses in logic and farfetched surprises that might lead some to wonder how ‘Widows’ might have unfolded as a leaner, tighter operation.”
“Patient blood aficianados who stick with the filmmaker to the final reel will most certainly receive their crimson reward.”
“For my money, David Lowery has been as much fun to watch as any filmmaker of his generation.”
“‘Mid90s’ has drawn some comparisons to Harmony Korine (who makes a cameo in Hill’s film) and Larry Clark’s ‘Kids,’ but Hill’s worldview is far less toxic and dangerous than the grimmest territory explored in the 1995 movie.”
“‘Filmworker’ will be sought by Kubrick completists, but the movie also appeals to anyone who has been seduced by the process of motion picture making.”
“Gaga’s mere presence in ‘A Star Is Born’ allows Cooper a wide berth to go big with scenes and moments that play with and embrace camp.”
“‘Halloween’ might be funny, but it’s also the nastiest, most violent entry in the series yet.”
“‘First Man’ expresses no interest in probing the complexities of space race mythologizing…”
“Fargeat is almost saying, ‘well, if you want to look at her, you must look at her no matter her condition.’ It is a grotesque way of calling out the male gaze, but it is an effective one.”