Cannes Film Festival Review: Sergei Loznitsa’s ‘A Gentle Creature’
“Sergei Loznitsa goes for absurdist satire, but, unfortunately, the joke’s on him.”
Cannes Film Festival Review: Ben and Joshua Safdie’s ‘Good Time’
“‘Good Time’ plays like little more than a direct-to-video thriller.”
Cannes Film Festival Review: Noah Baumbach’s ‘The Meyerowitz Stories’
“Like a classic stand-up comedian, Baumbach is far more interested in observation than hot button provocation.”
Cannes Film Festival Review: Sofia Coppola’s ‘The Beguiled’
“‘The Beguiled’ plays out exactly as one might expect and never really stretches beyond its contained premise.”
Cannes Film Festival Review: John Cameron Mitchell’s ‘How to Talk to Girls at Parties’
“‘How to Talk to Girls at Parties’ is spirited but doesn’t have anything new to say.”
Cannes Film Festival Review: Laurent Cantet’s ‘The Workshop’
“Like ‘Visages, villages’ and ‘Claire’s Camera,’ ‘The Workshop’ continues a Cannes 2017 trend for the unmatched power of creation and artistic expression, and this film reaches to darker depths than those tales.”
Cannes Film Festival Review: Kiyoshi Kurosawa’s ‘Before We Vanish’
“More than a stage play, the high concept and tonal spasms make ‘Before We Vanish’ feel like an adaptation of a cult manga.”
Cannes Film Festival Review: Kaouther Ben Hania’s ‘Beauty and the Dogs’
“The technical achievement here is considerable, though there is nothing that can match the surprise, and resultant thrill, of watching the opening scene play out.”
Cannes Film Festival Review: Agnès Varda and JR’s ‘Visages, villages’
“Between the enlightened creators, the immensely intimate artwork and the fabulous people they meet, there is never a dull moment in this beautiful piece of cinema.”
Cannes Film Festival Review: Vanessa Redgrave’s ‘Sea Sorrow’
“While ‘Sea Sorrow’ is cinematically stunted, it is clearly made with great passion and belief.”
Review: Azazel Jacobs’ ‘The Lovers’
“According to Jacobs, romantic love is a negative equation wherein passion plus time equals complacency.”
Tribeca Film Festival Review: Israel Cárdenas and Laura Amelia Guzmán’s ‘Sambá’
“‘Sambá’ succeeds most when it draws inspiration from its setting and hooks the audiences with hard questions about crime and responsibility.”
Tribeca Film Festival Review: Tim Golden and Ross McDonnell’s ‘ELIÁN’
“It’s a miracle that Golden and McDonnell were able to create such a coherent document out of what appears to be bureaucratic chaos.”
Tribeca Film Festival Review: Guillaume Canet’s ‘Rock’n Roll’
“Canet’s performance seems to come from a place of real insecurity, and the resulting film plays out like an externalized catharsis.”
Tribeca Film Festival Reviews: Men with Guns – ‘Sweet Virginia’ and ‘Hondros’
“What ‘Sweet Virginia’ and ‘Hondros’ have in common is the notion that men with guns aren’t as brave or bloodthirsty as they seem.”
Tribeca Film Festival Review: Drew Xanthopoulos’ ‘The Sensitives’
“‘The Sensitives’ is a gentle and affecting window into the isolated prison cell that becomes a sensitive person’s life.”
Tribeca Film Festival Review: Zefrey Throwell and Josephine Decker’s ‘Flames’
“At times, Zefrey and Josephine seem more in love with their own clever filmmaking than they are with each other.”
Las Palmas Film Festival Reviews: ‘Still Life’ and ‘Knife in the Clear Water’
“These allegorical films remind of the original connections that we have lost.”
Las Palmas Film Festival Review: Kôji Fukada’s ‘Harmonium’
“It’s the demons within that Kôji Fukada astutely brings to life in ‘Harmonium.'”
DIFF 2017 Review: Wong Chun’s ‘Mad World’
“Its megaphone messaging is lost in the noise of its own desperation.”