“‘Lamya’s Poem’ is best suited for streaming distribution since the documentarian Kronemer only shows a trying ability to accomplish theatrical flair. Still, a parent viewing the film with children can surrender to its spell and ambition, and forgive its lags.”
“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.”
“Built to impress longtime listeners and new ears alike, Wright’s love letter to Ron and Russell Mael complements the sensibilities of the masterminds behind glories like ‘Kimono My House’ and ‘Angst in My Pants.'”
“The Djinn’s central performance is a demonically excellent tour de force, and the work’s inclusion of Islamic folklore is a welcome presence in the Christian-dominated sphere of demon-related American horror films.”
“Beautifully shot, wildly inventive and devilishly unpredictable – and with a swooning, dead-cool soundtrack to match – ‘Sexy Beast’ is well worth celebrating on its 20th anniversary.”
“‘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…”
“‘In the Heights’ is far from a smooth transition from stage to screen, but the film remains an infectiously charming tale of community, and a far more incisive piece of social commentary than one might expect from the creator of ‘Hamilton.'”
“‘Censor’ is an attention-grabbing debut whose true impact will likely only be felt with each subsequent viewing as the inner workings of the film’s darkest moments become clearer. Absolutely essential.”
“Unlike many neo-westerns, which bandy hollow notions of ‘civilization’ that play out on the film’s surface, ‘Let Him Go’ runs a classical plot through a refined image of modern society.”
“In ‘Freeway,’ Vanessa isn’t a girl who has won a battle, but one who has lost a war.”
“Loznitsa’s ‘State Funeral’ is an important reflection on the moving image.”
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
Mannhunting #3 by Bill Bria (‘Ali,’ ‘The Insider’ and ‘Collateral’)
“Romero’s movies have a workshop feel to them, which elevates the horror to a startlingly realistic terror as if it was being documented live.”
“Deeply unsettling and profoundly frightening, ‘Caveat’ is a remarkably assured debut for Mc Carthy and a real showcase for the talents of its small cast, particularly French as the tortured protagonist.”
Dipankar Sarkar Interviews ‘Picasso’ Filmmaker Abhijeet Warang
“‘All Light, Everywhere’ succeeds on the basis of Anthony’s editorial choices; the whole is greater than the sum of its parts, which by themselves constitute several chapters or mini-documentaries capable of dropping one’s jaw.”
The Art of the Score #1: Blake Howard on David Mamet’s ‘Heist’
“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”