Review: Thomas Vinterberg’s ‘Another Round’
“‘Another Round’ is a high-concept character piece that dips its toes into national themes, but never long enough to put off the international market it’s clearly geared towards.”
Review: Deepa Mehta’s ‘Funny Boy’
“‘Funny Boy’ may seem groundbreaking on paper, but there’s nothing particularly original about this overly familiar and largely reductive adaptation of an acclaimed novel.”
Celebrating Small Moments in ‘Chungking Express’
“The small character gestures in ‘Chungking Express’ give the film its soul, but the spark comes from the act of being seen at all.”
Review: Robert Machoian’s ‘The Killing of Two Lovers’
“How wonderful it is to watch a film in 2020 that displays style and true enthusiasm for the art of movie-making.”
Review: Massoud Bakhshi’s ‘Yalda, a Night for Forgiveness’
“‘Yalda’ shows itself to be a deft treatise on how the contradictions of our modern world complicate something even as simple as saying sorry.”
David Fincher Pays Tribute to His Father and Old Hollywood in ‘Mank’
“‘Mank’ probably spends more time than necessary defining the protagonist’s own crisis of conscience within a corrupt and decaying dream factory.”
Review: David Fincher’s ‘Mank’
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”
An Interview with ‘The Nest’ Director Sean Durkin
Dominic Erickson Interviews ‘The Nest’ Director Sean Durkin
An Interview with ‘Scam 1992’ Filmmaker Hansal Mehta
Dipankar Sarkar Interviews ‘Scam 1992’ Filmmaker Hansal Mehta
Review: Clea DuVall’s ‘Happiest Season’
“‘Happiest Season’ may not be the cozy, easy and festive rom-com that many were expecting, but for those looking for something more challenging, it’s a vital, moving and essential watch any time of year.”
Review: Lee Isaac Chung’s ‘Minari’
“‘Minari’ might be the best example to date of a film that understands the romantic appeal of a country that claims to pride itself on its immigrant population, and why millions of people worldwide still follow that ideal…”
‘Bandit Queen’: The Callous World of Caste, Identity and Blood
“Despite being mired in controversy, ‘Bandit Queen’ is one of the finest films made in India that pushes the envelope of cinematic excellence.”
Man with the Camera: Brian De Palma’s ‘The Black Dahlia’
“‘The Black Dahlia’ shows De Palma in a reflective mood, considering the impact cinema, especially his own, has had on the lives and suffering of women on screen.”
Exploring ‘Double Indemnity’ and the Problematic Feminism of Film Noir
“The representation of women in Film Noir is murky territory — in some ways progressive, in other ways deeply misogynistic — certainly when assessing Phyllis in ‘Double Indemnity.'”
Review: Ruthy Pribar’s ‘Asia’
“A strong and ambitious debut from Pribar, ‘Asia’ leaves a lasting and profound impression.”
Review: Darius Marder’s ‘Sound of Metal’
“Watching Ahmed flourish without words, typically an actor’s lifeline, is a joy. It’s a massive challenge, and he rises to it with aplomb in ‘Sound of Metal.'”
The Tension of Space and Time: Béla Tarr’s ‘Sátántangó’
“‘Sátántangó’ becomes an almost transcendental experience, illustrating fissures in a civilization constructed by an inimitable, sublime design.”
Review: Channing Godfrey Peoples’ ‘Miss Juneteenth’
“One of the most rewarding dimensions of ‘Miss Juneteenth’ is the insightful manner with which Peoples guides the viewer through the world of the pageant itself.”
Review: Sean Durkin’s ‘The Nest’
“Nothing presented in ‘The Nest’ will radically alter the viewer’s perception of the family unit, marriage or even greed, but Durkin’s film suggests that is indeed the point.”
Review: Kornél Mundruczó’s ‘Pieces of a Woman’
“There’s a lot to admire about ‘Pieces of a Woman,’ but Mundruczó’s film loses its way as it continues to untether itself from the opening’s grounded realism.”
