Review: Issa López’s ‘Tigers Are Not Afraid’
“What ‘Tigers Are Not Afraid’ doesn’t contain in terms of deep characters and real-world specificity, it makes up for with its supernatural elements, allowing its allegory to resonate.”
Review: Tilman Singer’s ‘Luz’
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
Review: Liza Mandelup’s ‘Jawline’
“As we careen further down the barrel of late-capitalism, it has become clear that the laborer is now the product.”
‘Once Upon a Time in Hollywood’ Is a Sun-Soaked Fairy Tale with Unexpected Heart
“‘Once Upon a Time in Hollywood’ is not groundbreaking Tarantino, but it’s a fun trip back through time with real heart and likeable characters. Allow yourself to sink into its world and you’ll be rewarded with good tunes, laugh-out-loud jokes and moments of exhilaration.”
Punching with Your Feet: Riley Stearns Gets Dark in ‘The Art of Self-Defense’
“The close proximity of sudden, shocking violence to the humor challenges viewer expectations, and despite a few notable exceptions in the movie’s later sections, Stearns successfully pulls off his tricks.”
Review: Sanjoy Nag’s ‘Yours Truly’
“The 74-minute film fails to elicit any emotional depth and feels as if it’s going nowhere in no particular hurry. Even the cast’s controlled and consummate performances are unable to rescue the climax’s sustained mood.”
‘Maiden’ Doc Sails Around the World with Tracy Edwards and Her Crew
“Reflecting and refracting the ongoing conversations around everything from the salary inequity between male and female soccer players to the alleged child sex trafficking hellscape perpetuated by Jeffrey Epstein, ‘Maiden’ can be read as both time capsule and time bomb.”
VOD Review: Jason B. Kohl’s ‘New Money’
“The questions ‘New Money’ poses are numerous and mostly left unanswered. The film is scattershot at times and tonally inconsistent throughout, flirting with elements of a crime thriller and a goofy comedy.”
Edinburgh Film Festival Review: Emily Harris’ ‘Carmilla’
“‘Carmilla’ proves to be a successful adaptation that will appeal to anyone looking for some unearthly shivers, or a coming-of-age story where being conscious of one’s own sexuality takes centre stage.”
‘Spider-Man: Far from Home’ Is Far from Amazing
“‘Spider-Man: Far from Home’ is a sophomoric attempt to capture the visual flair and look of the old comics; Watts fails to capture the bite and necessary substance.”
‘Midsommar’ Review: Superb Direction Can’t Make Up for Weak Storytelling
“‘Midsommar’ is all steak, no sizzle, and no real lessons are learned other than, maybe, ‘Screw your mansplaining boyfriend.’”
Rachel Lears Showcases New Progressive Voices in ‘Knock Down the House’
“…an energizing portrait of working class, mad-as-hell action — and the birth of a national celebrity.”
‘Yesterday’ Squanders Fab Concept for Tired Rom-Com Tropes
“‘Yesterday’ didn’t need to be a dry, emotionless sci-fi story, but in taking such a basic approach to the concept, it really lessens the impact and results in a watered-down, forgettable experience.”
Edinburgh Film Festival Review: Phuttiphong Aroonpheng’s ‘Manta Ray’
“Featuring powerful lead performances, ‘Manta Ray’ is like a perfectly wrapped present that needs to be opened with care.”
Review: Nisha Ganatra’s ‘Late Night’
“‘Late Night’ struggles to define almost all the characters in the ensemble beyond providing the majority with a single, instantly recognizable trait.”
Edinburgh Film Festival Review: Agnès Varda’s ‘Varda by Agnès’
“Playing almost like a self-eulogy, ‘Varda by Agnès’ resonates as both a manifesto to untamed creativity and a testament to future generations of artists.”
BAMCinemaFest Review: Diana Peralta’s ‘De Lo Mio’
“While moments of grace and levity abound, Peralta remains clear-eyed about the difficulty of maintaining relationships – to people, to places, to the past – and rarely backs off from her stance.”
Edinburgh Film Festival Review: Jessie Jeffrey Dunn Rovinelli’s ‘So Pretty’
“Tip-toeing on the smudged edges between fiction and documentary, ‘So Pretty’ is an experiment in means of representation and ultimately a tender ode to an unjustly forgotten author.”
BAMCinemaFest Review: Tayarisha Poe’s ‘Selah and The Spades’
“Poe’s direction creates a heightened but never unrealistic frame in which her characters can maneuver. Her singular, assured vision avoids stilted dialogue or absurd scenes.”
Review: Nahnatchka Khan’s ‘Always Be My Maybe’
“The rom-com isn’t dead. It was simply evolving into something more interesting, more modern and more accepting.”