IFFR 2019 Review: Ryûsuke Hamaguchi’s ‘Asako I & II’
“With surprising poignancy, ‘Asako I and II’ channels the humbling smallness of life’s journey, and the human tendency to resist this banal, often disappointing reality with self-delusion.”
Review: Morgan Neville’s ‘They’ll Love Me When I’m Dead’
“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.”
IFFR 2019 Review: Jane Schoenbrun’s ‘A Self-Induced Hallucination’
“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.”
Two Hearts: The Love and Loss of Pawel Pawlikowski’s ‘Cold War’
“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.”
On ‘The House That Jack Built,’ Art Monsters and Not-So-Guilty Pleasures
“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.”
A Heavenly Juliette Binoche ‘Lets the Sunshine In’ for Claire Denis
“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?”
‘Zama’: Lucrecia Martel Gets Delirious
“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…”
Review: Jennifer Fox’s ‘The Tale’
“With ‘The Tale,’ Jennifer Fox addresses a painful subject in a straightforward and clear-eyed manner.”
Ballad of Lee Israel: Marielle Heller’s Excellent ‘Can You Ever Forgive Me?’
“‘Can You Ever Forgive Me?’ is simultaneously suspenseful and laidback.”
ArteKino Festival 2018 Review: Cyril Schäublin’s ‘Those Who Are Fine’
“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.”
Review: Rebekah and David Ian McKendry’s ‘All the Creatures Were Stirring’
“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’: A Legendary Hustler Shares His Stories
“‘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.”
House Heist: Steve McQueen’s Stylish ‘Widows’
“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.”
Danse Macabre: Luca Guadagnino Reimagines ‘Suspiria’
“Patient blood aficianados who stick with the filmmaker to the final reel will most certainly receive their crimson reward.”
‘The Old Man & the Gun’: David Lowery Directs a Robert Redford Victory Lap
“For my money, David Lowery has been as much fun to watch as any filmmaker of his generation.”
Jonah Hill Looks Back at the ‘Mid90s’
“‘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.”
In Kubrick’s Shadow: Tony Zierra’s ‘Filmworker’
“‘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.”
Review: Bradley Cooper’s ‘A Star Is Born’
“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.”
Review: David Gordon Green’s ‘Halloween’
“‘Halloween’ might be funny, but it’s also the nastiest, most violent entry in the series yet.”
‘First Man’: Damien Chazelle and Ryan Gosling Take a Moonwalk
“‘First Man’ expresses no interest in probing the complexities of space race mythologizing…”