On the Capitalist Realism of ‘The Box’
“‘The Box’ elevates the daily minutiae of capitalist cruelty into the science fiction moral framework of a ‘Twilight Zone’ yarn.”
Review: Bong Joon-ho’s ‘Parasite’
“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
12 Angry Films: Sidney Lumet on Justice #3 – ‘The Offence’
“For a filmmaker usually so concerned with the social causes of injustice, ‘The Offence’ is remarkably focused on the troubled psychology of its central character.”
TIFF 2019 Review: James Mangold’s ‘Ford v Ferrari’ Provides an Old-School Adult Drama
“Nothing about ‘Ford v Ferrari’ reeks of studio interference, perhaps owing to the fact that the script hews so closely to screenwriting conventions that worked well for decades.”
TIFF 2019 Review: Wayne Wang’s ‘Coming Home Again’
“A collaboration between a Chinese-American director and a Korean-American writer, ‘Coming Home Again’ is an exemplar of minimal styling that shows that what is essentially human surpasses the boundary of what is ethnic and cultural.”
TIFF 2019 Review: ‘Knives Out’ Shows Rian Johnson Sharp as Ever
“Johnson loves whodunits so much that he racked his brain to think 10 steps ahead of the audience so that he could hoodwink them to serve the goal of establishing the genre’s viability in the present day, all while staying true to its classic roots.”
TIFF 2019 Review: On the Spiritual Strivings of Trey Edward Shults’ ‘Waves’
“For a story that engages with tough, thorny questions of redemption and reconciliation, it’s a welcome development to have a filmmaker look upwards, not inwards.”
Interview with ‘Bait’ Director Mark Jenkin
Bait Movie Interview: Vague Visages’ Jim Ross discusses the 2019 drama film with writer-director Mark Jenkin.
Crossover After Crossover: The Layered Discussions in ‘High Flying Bird’
“While ‘High Flying Bird’ may seem uneven at first glance, one has to appreciate that Soderbergh directly addresses controversial societal topics that always touch a nerve in America.”
Modern Malick
“In Malick’s effort to capture the alienation that accompanies modernity, in his contemporary-set films, he ultimately achieves a similar alienation cinematically.”
The Face of Faith: Falconetti, Dreyer and ‘The Passion of Joan of Arc’
“Today, what survives is a film of exquisite poise, of fleshly tenderness against concrete cruelty, an evocative warmth against the coldness of Joan’s formidable suffering.”
FrightFest Review: Abner Pastoll’s ‘A Good Woman Is Hard to Find’
“An efficient script and commanding central performance from Sarah Bolger produce a memorable film with mostly intelligently drawn characters.”
On ‘Animals,’ Messiness and Vulnerability
“‘Animals’ doesn’t definitively answer it’s feminist question. I’m glad it doesn’t. Rather than making a film about the merits of giving up drink or ditching the guy, Hyde navigates somewhere far more raw.”
Locarno Film Festival Review: Sharipa Urazbayeva’s ‘Mariam’
“What is most harmful here is attaching the concept of re-gained femininity to makeup and fancy earrings. There shouldn’t be any need for a knight in shining armour to come to the heroine’s rescue.”
‘Sweet, Sweet Lonely Girl’ and the Drawbacks of Nostalgia
weet, Sweet Lonely Girl Movie Essay: Logan Kenny on A.D. Calvo’s 2016 film starring Quinn Shephard and Susan Kellermann.
Review: Andrea Berloff’s ‘The Kitchen’
“The Kitchen fares so much better when read as a kind of self-aware meta-narrative of the gangster film, and an examination of Berloff’s construction of the men is one argument for why this rare, female-helmed genre piece deserves a second look.”
Locarno Film Festival Review: Vesela Kazakova and Mina Mileva’s ‘Cat in the Wall’
“Refusing to look down on their characters, Kazakova and Mileva effectively portray disillusion by relying on familiarity and recognition to bring the marginalised closer.”
Locarno Film Festival Review: Eric Bergkraut and Ruth Schweikert’s ‘Parents – Wir Eltern’
“‘Parents – Wir Eltern’ is an imminently likeable movie, but frustrating for the insurmountable reach of its ambition.”
Locarno Film Festival Review: Kôji Fukada’s ‘A Girl Missing’
“While some metaphors seem rather self-explanatory, Fukada effectively develops a multifaceted character by transforming Ichiko from a collateral victim into an accomplice. ‘A Girl Missing’ highlights the importance of knowing when to speak up and when to stay silent.”
Locarno Film Festival Review: Tyler Taormina’s ‘Ham on Rye’
“‘Ham on Rye’ has an inescapably student film-y vibe, a bit like a wannabe Richard Linklater joint but without any of the ambition, grit or intelligence.”