Review: Jessie Barr’s ‘Sophie Jones’
“Those who have faced tremendous or even overwhelming emotional hurricanes following the death of a close friend or family member will appreciate the movement of time in ‘Sophie Jones.'”
Review: Eddie Arya’s ‘Risen’
“‘Risen’ won’t fare well with impatient streamers. Writer-director Eddie Arya should be applauded for his creative ambition, but even the most forward-thinking filmmakers need strong performances to sell their product.”
The Two Most Dangerous Men in America: ‘Jay and Silent Bob Strike Back’ at 20
“‘Jay and Silent Bob Strike Back’ is joyful and silly, colorful and wacky, with a surprisingly sweet core — broken down to its basest form, this is a film about friendship and, at a push, the importance of owning your IP.”
Photo Essay: Artists and Indigenous Leaders Band Together to Stop Line 3
Water Is Life Festival 2021: A Photo Essay by Andy Witchger
Fantasia Fest Review: Ruth Platt’s ‘Martyrs Lane’
“Hopefully, as the horror genre continues to grow and deepen, it won’t lose sight of itself as ‘Martyrs Lane’ sadly does.”
‘The Flesh Eaters’ and Early American Gore Cinema
“Jack Curtis’ 1964 feature ‘The Flesh Eaters’ deserves consideration as a lost figurehead of the gore genre, and one of its more formative efforts.”
Review: Sian Heder’s ‘CODA’
“Though Coda’s representation of deaf characters is insightful and moving, the film’s reliance on cheap sentimentality threatens its most perceptive and entertaining qualities.”
Interview with ‘Sara’s’ Director Jude Anthany Joseph
‘Sara’s’: Dipankar Sarkar Discusses the 2021 Amazon Prime Movie with Director Jude Anthany Joseph
WOMAN: At the Heart of James Cameron’s Filmmaking
“If you’re looking for feminism, don’t look at James Cameron — look at his films.”
Review: Sian Heder’s ‘CODA’
“Even though the comic juxtapositions can be as broad as the side of a barn in ‘CODA,’ the familial conflicts on the flip side of the coin resonate with hard truths.”
Review: Ira Deutchman’s ‘Searching for Mr. Rugoff’
“In today’s world of carefully crafted film industry personas, ‘Searching for Mr. Rugoff’ stands out with its character study about an art house fanatic who embraced the beautiful chaos of being a curious cinephile.”
Fantasia Fest Review: Stefan Lernous’ ‘Hotel Poseidon’
“Like any work of surrealism, one is likely to get more out of ‘Hotel Poseidon’ based on how much one puts into it.”
Cinema Rediscovered: ‘No Place Like Home’
“For a film completed in fits and starts over so many years, there’s a remarkable intellectual coherence to ‘No Place Like Home.'”
Review: Craig Singer’s ‘6:45’
“There’s a strong message at the heart of ‘6:45,’ in terms of accountability and psychological trauma, but the film seems derivative of genre predecessors and unfocused as a whole.”
Review: Leos Carax’s ‘Annette’
“Though ‘Annette’ has moments of visual splendor and transcendence, the underutilization of its stars and irritating music make the movie a disappointing return for Carax.”
Review: David Lowery’s ‘The Green Knight’
“The Green Knight’s impactful imagery and intensity outweigh its sometimes overly cryptic metaphors, allowing for quality entertainment.”
Cinema Rediscovered: ‘The Story of a Three-Day Pass’
“The cultural energy of the French New Wave is all over ‘The Story of a Three-Day Pass,’ not least because Van Peebles moved to Paris with his young family and published four novels in French as he was learning the language.”
The Sensual Delights of Michael Cristofer’s ‘Original Sin’
“‘Original Sin’ is an unabashedly horny movie, and Cristofer isn’t shy about showing off either of his gorgeous stars.”
Interview with ‘Lucky’ Director Natasha Kermani
Joey Keogh Interviews ‘Lucky’ Director Natasha Kermani
Album Review: King Woman ‘Celestial Blues’
“Finding solace in music is perhaps one of the few truly safe spaces in which we can find a place to grieve. ‘Celestial Blues’ is an important reminder that there is always room for faith.”