Review: Sang-ho Yeon’s ‘Train to Busan’
“‘Train to Busan’ becomes obsessed with how its characters will face the various obstacles thrown at them, but the film does not operate with a human desire for justice.
Review: Joshua Marston’s ‘Complete Unknown’
“‘Complete Unknown’ seems to have its finger on the pulse of something characteristic of our FOMO culture.”
SANFIC 12 Review: Paul Schrader’s ‘Dog Eat Dog’
“I think that Schrader is just reaching out, trying to stretch his directorial arms, trying to show everything that he’s got.”
SANFIC 12 Review: Alejandro Jodorowsky’s ‘Poesía sin fin’
“Maybe it’s his own nostalgia or the naturalistic approach, but I haven’t felt someone film my city with that much love in a long time.”
Review: Werner Herzog’s ‘Lo and Behold, Reveries of the Connected World’
“It is Herzog’s simultaneous exhibition of curiosity, awe, and irreverence in the face of the digitally connected world that makes ‘Lo and Behold’ a unique treatment of its subject that is not to be missed.”
Review: Ira Sachs’ ‘Little Men’
“At its best, ‘Little Men’ swings the viewer from the small, important signs of young friendship to the uncomfortable and conflicting economic interests of adults.”
EIFF 2016: Agnieszka Smoczynska’s ‘The Lure’
“It may sound like an odd compliment to praise a film for coming across like an ambien trip.”
Icon Is My Last Name: Andreas Horvath’s ‘Helmut Berger, Actor’
“We don’t who Helmut Berger is. Neither does he. Once a star, he will always be a star.”
EIFF 2016 Review: Zach Clark’s ‘Little Sister’
“‘Little Sister’ has a uniformly strong cast, but Addison Timlin gives one of those star-making turns that, if the universe is at all just, will be but the first prominent stepping stone for an extraordinary career.”
Review: Johnnie To’s ‘Three’
“To missteps when ‘Three’ hews too close to action clichés.”
