“Coppola’s recent work is not a ‘return to form,’ whatever that means, but rather part of an ongoing exploration of what the form can do, showing an artist increasingly interested in only trying things he hasn’t done before.”
“‘The Last Black Man in San Francisco’ soars, stretching gull wings as a poetic lament articulating longing and loss recognizable and accessible to all.”
“With his concern for the outsider, and his reorienting of the West’s perception in the American mind, Peckinpah helped to birth the Acid Western.”
“The gritty and hard-nosed film noir genre is rife with actors and directors that helped to not only change conversations about American cinema, but also the nation’s consciousness.”
“Many ‘Starfish’ reviews pick up on the film’s unmistakable exploration of grief, but just as many neglect to mention the other half of White’s semi-autobiographical work and its reckoning with guilt and regret.”
“Brice and company get too tied up in the character comedy for ‘Corporate Animals’ to work as a satire (or to really say anything at all), and the televisual filmmaking isn’t helped by a plotline that could have been a single episode of ‘The Office.'”
“Like ‘Blood Meridian,’ that epic of colonialist bloodshed along the frontier, ‘The Nightingale’ depicts a brutal historicism; a cruel world that favours no one but those who already have it. This isn’t a wish-fulfillment revenge film, but a reality check.”
“Hazarika’s is a voice that comes from outside of the Bollywood canon and reverberates sharp and hard throughout the cinemascape of the country. May it grow only louder.”
“Maurel allows Arenas’ body language to speak for her, rather than relying upon cliché teenage dialogue found in many Hollywood films.”
“‘Alien’ is a gift that keeps on giving, and ‘Memory’ unwraps so many colorfully wrapped boxes of various shapes and sizes.”
“All in all, ‘the 4th film by Quentin Tarantino’ is a wild, eclectic action movie with visual flair, great performances and personality up the wazoo.”
“Moin Hussain’s ‘Naptha’ is a classic, compact portrait of a strained father-son relationship that addresses the angst of aging and the pain that familial relationships can bring.”
‘We Are the Heat’: Pablo Staricco Cadenazzi interviews filmmaker Jorge Navas.
“Eggers is persistent in never revealing his hand, but I’ve got a hunch he’s hiding a royal flush.”
‘Take Me Somewhere Nice’: Pablo Staricco Cadenazzi interviews filmmaker Ena Sendijarević.
“Widow of Silence’s characters communicate little because the core of human existence is on the verge of death. It’s the humanization of the unfamiliar that makes the characters feel so exceptionally real, and viewers will likely see parts of themselves on screen.”
“If ‘Alien’ came out today, it’d likely be hailed as some sort of genius elevated horror/prestige sci-fi movie. It’s an engrossing, pulse-pounding thriller with brains and a unique and stunning visual style. Forty years later, ‘Alien’ remains one of the best sci-fi AND horror films of all time.”
“Imagine the largest film-producing nation in the world. Now imagine that nation, with more than one 100 years of film history and a global audience in the billions, being conspicuously absent from the single most prestigious and prominent film festival in the world.”
“‘Fonotune: An Electric Fairytale’ can’t escape feeling like a zany music video concept, lacking the energy or plot to sustain a feature.”
“Despite entertaining directorial flourishes often accompanied by striking stock footage cutaways — from Carl Sagan to a history lesson on Black hair care products — Russo-Young can’t set her hooks into much beyond the postcard images of the Big Apple.”
