Netflix Review: Joe Wright’s ‘The Woman in the Window’
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
“Oxygen’s relevance strikes like lightning in a year when time is measured less by Earth’s tilt and more by first wave, second wave, red phase, yellow phase; not by time passing daily, but by how much danger remains in the room.”
“Ben Sharrock’s entracing new film ‘Limbo’ is a perceptive and earnest work.”
“‘Monster’ seems like it doesn’t trust itself to connect with viewers without over-explanation.”
“‘Queen Marie’ may not be a modern historical classic, but its wink-of-the-eye moments subtly inform the audience about the filmmakers’ intent. That, I can appreciate.”
“Taking its cues from the later Chucky movies, ‘Benny Loves You’ embraces the inherent insanity of the premise, setting it free in a similar manner to how the titular toy runs riot.”
Author Joseph B. Atkins on Filmmaker Monte Hellman’s Life and Career
“Without being judgmental, ‘The Disciple’ succeeds in questioning the age-old notion of sacrifice as a means to attaining higher goals.”
Dipankar Sarkar Interviews ‘Pagglait’ Filmmaker Umesh Bist
“Hozie nails the greener-grass metaphor in ‘PVT Chat’ with a clarity that reminded me of the last lines of James Joyce’s ‘Araby.'”
“Plenty of double-themed movies have been made over the years, but ‘Ride or Die’ seems like an ideal companion piece to ‘Persona.’ Both films are sexually provocative, and both require multiple viewings to better understand the perspectives of each female protagonist.”
“Though somewhat imperfect, Pereira dos Santos’ first feature shows promise and is a testament to his ability to portray queer characters with granular subtlety and political meaning.”
“‘Night in Paradise’ isn’t the ideal movie for locked-down streamers, but it’s one that challenges audiences to find silver linings in dark life experiences.”
“‘Bridget Jones’s Diary’ is heartbreaking and life-affirming in equal measure, which is a difficult balance to pull off, particularly in a movie that frequently treats its protagonist quite harshly.”
“Roger Ebert once wrote ‘it’s not what a film is about, it’s how it is about it,’ and it’s this phrase that I usually return to when thinking about cinema that deals with humanity’s worst impulses.”
“‘Nina Wu’ isn’t just a ‘#MeToo thriller’ or ‘slow burn cinema,’ it’s a progressive spin on psychological horror and a master class in visceral visual design.”
“The utter sadness of Little and Big Edie’s story is why ‘Grey Gardens’ is so moving — direct cinema allowed this story to be explored with a level of intimacy previously unavailable.”
“‘The Serpent’ fashions itself as a serial killer epic, but feels more like an uninspired Jacques Audiard knockoff that shows little interest in deconstructing the psychology of its subject.”
Mannhunting #1 by Bill Bria: “The protagonists and antagonists in Mann’s films tend to be mirror images of each other, all of them caught within masculinity’s shackles.”