Tribeca Film Festival Review: Mary Harron’s ‘Charlie Says’
“If ‘Charlie Says’ marks the official kickoff of Manson-50-years-later discourse, we’re lucky that it prioritizes the insidiousness of his ideology.”
Review: Jenny Gage’s ‘After’
“‘After’ plays it too safe start to finish. And aside from whatever discussions might emerge concerning the representation of toxicity, masculinity and toxic masculinity, the lack of originality is the film’s Achilles heel.”
There Is Another: Transgenerational Trauma and the Skywalker Legacy
“By viewing a family over three generations, the audience can see patterns that the characters themselves cannot, and then see patterns in their own lives as well, hopefully.”
Once Upon a Time in Tarantinoland: ‘Pulp Fiction’ Is a Rule-Breaking, Pop Culture-Obsessed Good Time
“As a whole, ‘Pulp Fiction’ hinges on the audience’s awareness of tropes, and it offers something new by subverting expectations.”
Tribeca Film Festival Review: Tanya Wexler’s ‘Buffaloed’
“No one in ‘Buffaloed’ shines brighter than Deutch, who gives a performance that will completely redefine her as an actress.”
Backlash: A Decade of John G. Avildsen
“Some of Avildsen’s men turn to violence. Some of them turn to crime. Some of them turn inward. All of them know that somehow, some way, they must turn. They cannot survive, let alone win, without surrendering some part of themselves.”
It’s Cool to Be Kind: ‘Mean Girls’ at 15
“‘Mean Girls’ might be a teenager itself now, but the movie’s popularity continues to grow as a whole new generation falls in love with its cast of crazy characters, messages of inclusion and impressively high joke rate.”
Tribeca Film Festival Review: Christoph Waltz’s ‘Georgetown’
“‘Georgetown’ is far from an egregious festival bomb, but Waltz’s directorial craftsmanship lacks the flair of his performance work.”
Review: Justin Kelly’s ‘JT LeRoy’
“‘JT LeRoy’ is a movie suiting those who, at minimum, can entertain the idea that we might not get what we desperately want.”
Moshing Into Laughter: An Interview with ‘Heavy Trip’ Directors Juuso Laatio and Jukka Vidgren
Pablo Staricco Cadenazzi Interviews ‘Heavy Trip’ Directors Juuso Laatio and Jukka Vidgren
An Interview with ‘All These Small Moments’ Director Melissa Miller Costanzo
Pablo Staricco Cadenazzi Interviews Writer-Director Melissa Miller Costanzo
In Her Feature Directorial Debut, Laure de Clermont-Tonnerre Tames ‘The Mustang’
“Not all of Clermont-Tonnerre’s story moves hold up under logical scrutiny, but ‘The Mustang’ succeeds despite its familiarity.”
The Sharp Pang of Growing Up: Rima Das’ ‘Bulbul Can Sing’
“Das’ direction examines one’s reluctance to imagine the future in any detail during childhood. She highlights the transformative power of nature, the way it allows one’s true self to shine through and thus inspires the pursuit of hidden passions.”
Review: Alex Ross Perry’s ‘Her Smell’
“Perry has written an anti-heroine who is wholly clued into her own mythology metaphor, referring to herself and the band’s circumstances using the self-aggrandizing language of conquests, lore and legacy.”
Artist Rashid Johnson Makes Feature Debut with ‘Native Son’
“Whether or not Johnson overcomes the arguments made by James Baldwin in essays contained within ‘Notes of a Native Son’ rests largely with the viewer’s sympathies with the objectives and sensibilities of Wright (and Johnson).”
A Romanticized Tale of Time: Jia Zhangke’s ‘Ash Is Purest White’
“‘Ash Is Purest White,’ Zhangke’s latest film, is another masterful chapter of the director’s artistic journey, one that works wonderfully as a point of entry into his oeuvre.”
Review: Harmony Korine’s ‘The Beach Bum’
“‘The Beach Bum’ is undoubtedly Harmony Korine’s friendliest movie, as the filmmaker tones down his Jean-Luc Godard meets John Waters envelope-pushing tendencies and alienating techniques, yet there’s still a lot of edge to be found in the film.”
In an Excellent Debut, Writer-Director Nia DaCosta Explores ‘Little Woods’
“Sexism and toxic masculinity are not unusual in this genre, but DaCosta’s emphasis on sisterhood and the presentation of a female point of view turn ‘Little Woods’ into a fresh, must-see cinematic experience.”
Thessaloniki Documentary Festival 2019 Review: George Gounezos’ ‘Outer Space Kids’
“The film itself doesn’t have a clear narrative structure, but that’s not at all a detriment. ‘Outer Space Kids’ is more so an experience, a glimpse into a world of art that exists beyond socially constructed borders.”
‘And Breathe Normally’: An Incredibly Human Icelandic Story
“Uggadottir’s ‘And Breathe Normally’ evokes a whole new style of Icelandic cinema, one which is inseparable from the country’s physical existence.”