“By experiencing Almodóvar’s films as the product of a man whose view of the world is deeply affected by a variety of nagging medical concerns, only a few late period works thoroughly scratch under the surface of his psyche.”
“‘The Box’ elevates the daily minutiae of capitalist cruelty into the science fiction moral framework of a ‘Twilight Zone’ yarn.”
“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
“For a filmmaker usually so concerned with the social causes of injustice, ‘The Offence’ is remarkably focused on the troubled psychology of its central character.”
“From a technical perspective, ‘Feedback’ is extremely potent for long stretches. However, in aspiring to be relevant to current affairs, the film eschews effective simplicity for confused complexity.”
weet, Sweet Lonely Girl Movie Essay: Logan Kenny on A.D. Calvo’s 2016 film starring Quinn Shephard and Susan Kellermann.
“‘District 9’ might not be a classic like ‘Alien’ or ‘The Terminator’ (not many films are), but it’s still an effective sci-fi film with depth and style.”
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
“While it might be easy to assume that films like ‘Natural Born Killers’ and ‘Funny Games’ simply demonise their audiences as wanting the thrill of violence without thinking about the consequence of it, the films instead ask questions, instead of only providing answers.”
“‘Too Old to Die Young’ is rough around the edges, and perhaps deliberately so. It’s almost as if the writers are two brothers in a car fighting between soft rock and techno on the radio.”
Julia Bozzone on Quad Cinema’s Fresh Meat: Giallo Restorations, Part Two
“The questions ‘New Money’ poses are numerous and mostly left unanswered. The film is scattershot at times and tonally inconsistent throughout, flirting with elements of a crime thriller and a goofy comedy.”
“Whether they intended to or not, the ‘Gimme Shelter’ filmmakers had tapped into and exposed a diabolical soul and a deep-seated hostility. The sun that had fleetingly shone so brightly was starting to set.”
“‘Death Proof’ is too singularly grindhouse, but it works as a fun, trashy flick, and a cool female empowerment story.”
“Many ‘Starfish’ reviews pick up on the film’s unmistakable exploration of grief, but just as many neglect to mention the other half of White’s semi-autobiographical work and its reckoning with guilt and regret.”
“‘The Nightingale’ is a rich and vivid work from a director whose bold vision accounts for its brutality.”
“As a whole, ‘John Wick: Chapter 3 – Parabellum’ is a fun romp and continues the Greek/pulp mythology set up in ‘John Wick: Chapter 2.’ In future installments, Stahelski might want to tone down the campiness, otherwise the series will lunge into self-parody.”
“While ‘Jackie Brown’ does revel in nostalgia and feature its fair share of firearms, it’s a much more subdued, nuanced and mature film than any of Tarantino’s previous works, or any other production within his entire filmography.’
“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.”
“This is a moody, thoughtful and impressively weird debut feature from White.”