Review: François Delisle’s ‘Chorus’
“Almost violently textured, ‘Chorus’ evokes the works of Ingmar Bergman as it contrasts the spiritual qualities of the mind and the body.”
Fargo Film Festival Review: Aaron and Austin Keeling’s ‘The House on Pine Street’
“Incredibly polished and finely acted, ‘The House on Pine Street’ will surely become a hit on the film festival circuit.”
Fargo Film Festival Review: Jesse Moss’ ‘The Overnighters’
“Moss highlights the personal struggles of many who find themselves re-awakened in northwestern North Dakota, and others who simply fade in and fade out.”
Concealed Fury: Hélier Cisterne’s ‘Vandal’
“Cisterne poses important questions about adolescent identity and touches on the blossoming of artistic expression in ‘Vandal,’ but the concealed fury of each character ultimately remains an enigma (along with their understanding of the real world).”
Truffaut with a Shade of Demy: Axelle Ropert’s ‘Miss and the Doctors’
“‘Miss and the Doctors’ reminds of François Truffaut with a shade of Demy; ‘Jules et Jim’ holding ‘The Umbrellas of Cherbourg.'”
Review: Mélanie Laurent’s ‘Breathe’
“‘Breathe’ works on various levels thanks to Arnaud Potier’s cinematography, Laurent’s polished direction and the magnetic charisma of the leads.”
A Reluctant Hunter: Jean-Bernard Marlin’s ‘La fugue’
“Bencherif exudes that rare type of charisma one can’t teach.”
The Film Jeff Nichols Should Have Made: ‘The World Made Straight’
“‘The World Made Straight’ is essentially a poor man’s ‘Out of the Furnace’… Still, it’s a memorable spotlight for the always-mesmerizing Minka Kelly.”
Just Let it Flow: The Awkward Transitions of ‘Jimi: All Is by My Side’
“A Hendrix biopic can be tackled in a variety of ways, but a director should either commit to gonzo audio/visual techniques or simply let the performances take over.”
Broken Embraces and Unforgettable Form: Paul Thomas Anderson’s ‘Inherent Vice’
“Joaquin Phoenix delivers yet another iconic performance in ‘Inherent Vice’ and has now become one the most charismatic actors of the last 20 years.”
An Attractive Fraction: Tim Burton’s ‘Big Eyes’
“‘Big Eyes’ could have become an Oscar contender with more focus on Adams in the final act, rather than a shift towards the public bravado of Waltz’s Walter Keane.”
An Unfortunate Case of Severe Holiday Melodrama: Angelina Jolie’s ‘Unbroken’
“Jolie didn’t make a bad movie, and ‘Unbroken’ might have even won Best Picture 20 years ago, but you can’t throw the star under the bus — especially in a biopic — and let the antagonist destroy one of the most powerful scenes.”
A ‘Boyhood’ Alternative and Potential Oscar Outcast: Jean-Marc Vallée’s ‘Wild’
“Witherspoon delivers a powerhouse performance in ‘Wild.'”
Some Like It Hot (and Hilarious): Angus MacLachlan’s ‘Goodbye to All That’
“Angus MacLachlan’s ‘Goodbye to All That’ is a witty romance with real-life consequences for millennials to consider.”
The Surprise Gem of 2014: Mark Raso’s ‘Copenhagen’
“‘Copenhagen’ surprised me like no other film in 2014…”
The Elegant Ingenuity of Sam Esmail’s ‘Comet’
“With ‘Comet,’ Sam Esmail offers a fresh take on romance and allows his stars to shine with ingenuous performances.”
Reality Unleashed in Samuel Kishi’s ‘We Are Mari Pepa’ (2013)
“The more outlandish the dialogue becomes, the more Kishi highlights his tight screenwriting with co-scribe Sofía Gómez-Córdova.”
A Most Violent Trade: Erik Matti’s ‘On the Job’
“Matti shows no fear by destroying genre cliches in ‘On the Job,’ and his wandering camera opens up the world of Metro Manila while expressing how utterly disposable humans can be under corrupt leadership.”
Review: Celia Rico Clavellino’s ‘Luisa Is Not Home’
“Asunción Balaguer carries ‘Luisa Is Not Home’ with her gentle performance…”
Review: Marina Shron’s ‘Sea Child’
“The crystal-clear visuals of ‘Sea Child’ transcend into a an aquatic journey of surrealism…”