“With ‘Electric Lady Studios,’ McDermott artfully explores intriguing stories about hard-working music professionals who experienced first-hand what it was like to make a dream come true.”
“Miller’s documentary will likely bore viewers who are unfamiliar with Medeski Martin & Wood, but ‘Not Not Jazz’ is still a worthy tribute to what makes the band members such singular musicians.”
“‘Frankie Freako’ is deliriously silly and wholesomely entertaining, and so genuine in its profound lack of depth or meaning — it’s a refreshing antidote to all the dreaded “elevated horror” offerings.”
‘IC 814: The Kandahar Hijack’ Interview: Dipankar Sarkar discusses the 2024 Netflix miniseries with co-creator Trishant Srivastava.
“‘Oddity’ is the scariest movie of the year.”
“The main issue with ‘Guy Friends’ is that the film hinges on Jariwala’s performance, which is heavy on histrionics and lacking in truth.”
“Natalie Erika James manages to follow a near-identical narrative formula to ‘Rosemary’s Baby’ but without the sense of genuine danger. A story that should retain its prescience is rendered nothing more than nostalgia bait.”
“‘Sleep No More’ remains a mishmash of clichés, genres and lackluster ideas.”
“Perhaps Plante wasn’t sure how to end ‘Red Rooms’ without veering into sensationalism, which is commendable, but it doesn’t solve the problem of crafting an intriguing reason for why Kelly-Anne is so driven.”
“‘The Substance’ feels weirdly outdated, despite the writer-director’s many provocative attempts to demonstrate how misogyny and ageism play out in contemporary media.”
“Much of what makes ‘The Shrouds’ equally interesting and irritating is that Cronenberg seems to see conspiracy, confusion and competing dialogue as something impenetrable.”
“The refreshing clarity of Peck’s style in ‘Ernest Cole: Lost and Found’ often feels like a drawback in the way that it disrupts the emotional weight of voice and visual form.”
“With ‘Naale Rajaa Koli Majaa,’ Shetty gracefully explores the peculiarities of human relationships and the ironies of daily life in India, wherein the contemporary urban existence often stands at a crossroads with ancient traditions.”
‘Roopanthara’ Interview: Dipankar Sarkar discusses the 2024 movie with filmmaker Mithilesh Edavalath.
“It’s quite remarkable how Diop captures the collective view of a West African country through her debate sequences in ‘Dahomey.'”
“Through well-defined performances and character dynamics, ‘I’ll Be Right There’ presents heartwarming ideas about personal growth with a genuine thoughtfulness and clever humor, resulting a a beguiling viewing experience.”
“For a filmmaker who made his name with two hyper-violent thrillers that triggered some queasy walkouts on the festival circuit, the character-driven moments in ‘Rebel Ridge’ feel like an evolution for Saulnier.”
‘Like many great crime films, ‘Only the River Flows’ makes full use of its setting, delivering a grimy and ugly story that suits its grimy and ugly central location.”
“Gould’s persona upended traditional notions of cinematic masculinity in its appeal to a generational fatigue and ambivalence; his sexual magnetism eschewed the amatory codes of the traditional leading man.”
“As a sports documentary, ‘Torched’ succeeds by establishing and celebrating the DIY culture of both Austin, Texas and the featured frisbee squad.”