Why Criticism: The Race to Problematize Bittersweet Horror Endings
“In order to fully engage with horror films, it’s important to look at the monster and the world that’s being upended by that monster.”
Review: Hirokazu Kore-eda’s ‘The Truth’
“‘The Truth’ is best viewed as a watered down (but often quite enjoyable) riff on many of Assayas’ recurrent thematic obsessions.”
Review: Matthew Ninaber’s ‘Transference’
“‘Transference’ feels like a 13-and-under science fiction-themed board game. The pieces are clearly labeled, the color design fits the genre premise and the directions are confusing.”
Review: Liz Garbus’ ‘Lost Girls’
“The lack of resolution inherent in the source material sets up an insurmountable task: the solution to the central crime and mystery that puts this particular story in motion.”
Sound and Fury: Vicious Insecurity in Mike Leigh’s ‘Naked’
“‘Naked’ is just as emotionally raw now as it was when it was made, just as acrid and acerbic, and only seems to gain pertinence with age, as the toxic traits of masculinity into which it offers insight become more and more clearly identifiable in society.”
Interview with ‘Kindred Creatures’ Filmmaker Samuel Sprynczynatyk
‘Kindred Creatures’ is a feature-length documentary that explores the world of farm animals and the sanctuaries that rescue them. Check out VV’s interview with the North Dakota-based director Samuel Sprynczynatyk.
12 Angry Films: Sidney Lumet on Justice #9 – ‘Q & A’
“The thrill of a film like ‘Q & A’ comes in watching how Lumet finds new ways to level his criticisms, harnessing the cynicism that has propelled his work and suffusing each frame with deep, corrupting rot.”
Tone in the Films of Joe Dante: Attack of the Multi-Layers!
“Not quite comedies, not entirely horror movies and not normal family films, Dante’s work continues to impress with the layers each work reveals over time, a key factor in their lasting power.”
Carnival Madness: The Spectacle of Terror in R.W. Fassbinder’s ‘The Third Generation’
“In Fassbinder’s conception of West Germany following its chaotic autumn, terror takes on the tenor of performance art; like addicts lusting after a fix, the groupuscule seeks ennobling sensation; they must be satiated by “Something symbolic…”
Glasgow Film Festival Review: Nick Rowland’s ‘Calm with Horses’
“Rowland’s direction throughout is clean and deliberate, rarely showy. He evokes the kind of barren small town where there is almost nothing to fight over, although some still find a way. There’s a bleakness to all of it, a greyness.”
Review: Autumn de Wilde’s ‘Emma.’
“Sumptuously designed, elegantly appointed and spectacularly costumed and coiffed, de Wilde’s fresh rendition has a piquant flavor complemented as much by self-aware sexiness as the abundant pastel hues on display.”
Review: Numa Perrier’s ‘Jezebel’
“‘Jezebel’ is a rallying cry for all black girls trying to figure out who they see in the mirror and on the screen.”
Glasgow Film Festival Review: Jung Da-won’s ‘Miss & Mrs. Cops’
“‘Miss & Mrs. Cops’ is a genuinely light-hearted movie which never strays into the emotional register of real life or real pain.”
Glasgow Film Festival Review: Régis Roinsard’s ‘Les traducteurs’
“Roinsard is so preoccupied with setting up the next twist that ‘Les traducteurs’ does little to establish why viewers should care.”
Berlinale 2020 Review: Philippe Garrel’s ‘The Salt of Tears’
“‘The Salt of Tears’ hovers around repulsive aspects of society without fully committing to its own unpleasantness…”
Review: ‘Dark Whispers: Volume 1’
“The problem with ‘Dark Whispers: Volume 1’ is the same as with any horror anthology — the stories are only as good as what’s come before.”
Review: ‘The Invisible Man’ Is a Sight for Sore Eyes
“Whannell’s ‘The Invisible Man’ is an absolute banger, and stands tall as the most spectacular evolution of the story to hit the big screen.”
Glasgow Film Festival Review: Mahnaz Mohammadi’s ‘Son-Mother’
“Mahnaz Mohammadi’s tale of an Iranian mother’s dilemma render the emotional highs and lows of its characters with a naturalistic clarity.”
Berlinale 2020 Review: Tsai Ming-liang’s ‘Days’
“Why are we watching if the director’s gaze — and hence our own — makes us feel like we’re intruding spaces that should be left otherwise untouched?”
Berlinale 2020 Review: Alexandre Rockwell’s ‘Sweet Thing’
“‘Sweet Thing’ is creatively shot and bursting with energy, but Rockwell’s biggest ambition is seemingly to replicate a bunch of ideas from other films, to put visuals to his favorite songs and to showcase his talented family.”