“Abstract and disjointed, the narrative of ‘Mysterious Object at Noon’ is progressively piecemeal, and what occurs in ‘Limite’ is even more inconclusive.”
“As a chronicler of the justice system in a dozen or more films, Lumet is intimately concerned with the ways in which it represses individual thought and fails to live up to its supposedly defining principles.”
“In the cinema of Michael Mann, romance comes fast or not at all, often smothered by the anonymous network of mankind itself or maybe just your job.”
“Stories of older women emotionally manipulating younger acquaintances remain commonplace, but Nebbou’s film manages to find something genuinely human beneath tired hagsploitation tropes.”
“In these increasingly confusing times, taking solace anywhere we can is more important than ever, and it’s impressively weird, intelligent movies like ‘Sea Fever’ that offer such comfort.”
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
“‘Finding Yingying’ doesn’t try to offer answers that it can’t manifest in reality, and instead allows the legacy of its subject to lead the way, through intimate diary entries, by pondering the important questions of who we want to be, for each other and for our communities.”
“Hittman’s third feature continues to demonstrate the talents, sensibilities and cinematic evolution of a first-rate writer-director…”
“‘The Lawyer’ doesn’t fully grapple with its weighty white saviour theme, and ends up becoming as simplified as what it was setting out to subvert.”
“It’s not difficult to see how PlayTime’s jubilant finale — with its invocation to fashion the city to its occupants’ sense of fun, desires and needs — is perhaps Tati’s most profound statement of his participatory cinema.”
“The female gaze is strong here, lovingly capturing Cassidy’s delicate, open features particularly when they begin twisting into something resembling anger…”
“‘The Magic Christian’ cries out to be re-visited. For all the cultural specificity of the novel and film, Grand remains a strikingly modern figure.”
“‘Making Waves: The Art of Cinematic Sound’ often turns its ears to previously unheard nooks and crannies that will light a fire in the next generation of world-class film artists.”
“‘Dry Summer’ and ‘Law of the Border’ remain available as fascinating, engaging documents of a national cinema often forgotten.”
“More than ever, it’s crucial to be more cognizant about the complexities of social situations, certainly when speaking to, or speaking about, people with disabilities.”
“In order to fully engage with horror films, it’s important to look at the monster and the world that’s being upended by that monster.”
“‘The Truth’ is best viewed as a watered down (but often quite enjoyable) riff on many of Assayas’ recurrent thematic obsessions.”
“‘Transference’ feels like a 13-and-under science fiction-themed board game. The pieces are clearly labeled, the color design fits the genre premise and the directions are confusing.”
“The lack of resolution inherent in the source material sets up an insurmountable task: the solution to the central crime and mystery that puts this particular story in motion.”
“‘Naked’ is just as emotionally raw now as it was when it was made, just as acrid and acerbic, and only seems to gain pertinence with age, as the toxic traits of masculinity into which it offers insight become more and more clearly identifiable in society.”
