Conspicuous Consumption: Noah Baumbach Takes on ‘White Noise’
“Admirers of Baumbach will smile at the ways in which ‘White Noise’ embodies his longtime preoccupations and simultaneously points toward bold new possibilities.”
Review: Angela Tucker’s ‘A New Orleans Noel’
“‘A New Orleans Noel’ is one of the year’s best holiday movies.”
An Interview with ‘Pokhar Ke Dunu Paar’ Filmmaker Parth Saurabh
‘Pokhar Ke Dunu Paar’ Interview: Dipankar Sarkar discusses the 2022 movie with filmmaker Parth Saurabh.
A Portrait of the Portrait Artist: Laura Poitras and Nan Goldin Get Together for ‘All the Beauty and the Bloodshed’
“Goldin’s openness and forthrightness extends to her advocacy on behalf of so many others who, like herself, struggled or continue to struggle with opioid addiction.”
Review: Noah Segan’s ‘Blood Relatives’
“‘Blood Relatives’ is constantly in conversation with past vampire works without feeling the need to signpost its references. Segan is confident in the material, both onscreen and off.”
Maria Schrader Dramatizes a Contemporary Reckoning in ‘She Said’
“Condensing, combining and streamlining are expected elements of movie storytelling, but ‘She Said’ works toward a composite that validates as many facts and details as possible within the limitations of the feature film format.”
Review: Jon Michael Simpson’s ‘Hi I’m Blake’
“‘Hi I’m Blake’ has a profound, encouraging lifeforce, especially when Jeff McQuitty and Hanan Townshend’s hard-hitting crescendos complement the subject’s perseverance.”
Review: Scott Friend’s ‘To the Moon’
“‘To the Moon’ is the rare low-budget indie that delivers the goods across the board.”
Review: Amy Bandlien Storkel and Bryan Storkel’s ‘The Pez Outlaw’
“In ‘The Pez Outlaw,’ the Storkels include enough material centered on the durable and enchanting romance between Glew and wife Kathy to keep viewers firmly on his side.”
Review: Ryan Coogler’s ‘Black Panther: Wakanda Forever’
“‘Black Panther: Wakanda Forever’ is a superhero movie with a lot to say and do, paced well for a film over 160 minutes long, but it still dumbs itself down at times because either the director or studio simply doesn’t trust the audience.”
Review: Matt Sauter’s ‘Dylan & Zoey’
“Acting coaches should take a look at Dylan & Zoey’s bathroom monologue scene… this is the type of cinema that I’m always looking for.”
On Mimi Parker, ‘HEY WHAT’ and the Elevations of Low
“The lasting effect of Low’s music has never been more present than on ‘HEY WHAT.'”
Mystical Ennui: Peter Cook at a Distance
“Peter Cook was never able to bridge the distance between his personal world and his many creations, and one gets the impression that he derived a certain satisfaction from keeping people guessing.”
Review: Lena Dunham’s ‘Catherine Called Birdy’
“Dunham delivers the most polished and confident feature of the four she has made so far…”
An Interview with ‘I’m Not the River Jhelum’ Filmmaker Prabhash Chandra
‘I’m Not the River Jhelum’ Interview: Dipankar Sarkar discusses the 2022 movie with filmmaker Prabhash Chandra.
Marc Shaffer Explores the Legend of Helios in ‘Exposing Muybridge’
“At just under 90 minutes, ‘Exposing Muybridge’ doesn’t wear out its welcome, but there are a few aspects of the subject’s colorful legacy that could have used more detail and consideration.”
Tearing ‘Hellraiser’ Apart to Its Artistic Core
“Hellraiser’s creators channel the works of Francis Bacon, Walter Sickert, Allen Jones and Zdzisław Beksiński. These impressionist and surrealist craftsmen, like Barker and Randel, expose the horrors of their lifetime to the populace at large.”
A Reductive Montage of Love: ‘Meet Me in the Bathroom’
“‘Meet Me in the Bathroom’ succeeds when viewed as a celebratory snapshot of the Big Apple’s pre-9/11 rock youth. Still, the overall approach feels off and somewhat uninspired.”
An Interview with ‘Powai’ Filmmaker Kuldip Patel
‘Powai’ Interview: Dipankar Sarkar discusses the 2022 movie with filmmaker Kuldip Patel.
London Film Festival Review: Alice Diop’s ‘Saint Omer’
“‘Saint Omer’ isn’t a film that looks at gendered and racial dynamics in the courtroom; it’s a film that looks at the ideological puppet strings that define those gendered and racial dynamics beyond immediate visibility.”