“Esterhazy’s direction is consistently flat and uninspired given the nonstop opportunities for twisted weirdness, but the failure of ‘The Banana Splits Movie’ can be pinned almost entirely on the sawdust-packed script…”
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“As a kind of grown-up ‘Clue’ in reverse, complete with the tribute appearance of a pepper-box revolver, ‘Ready or Not’ also lays out a motley assortment of Colonel Mustard and Mrs. Peacock-worthy opponents hell-bent on dispatching Grace prior to sun-up.”
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“The experimental nature of Jenkin’s production means it might take a few scenes to really get hooked. ‘Bait’ reels the audience in, however, by casting a uniquely strange line, capturing elements of old and new cinema.”
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“An efficient script and commanding central performance from Sarah Bolger produce a memorable film with mostly intelligently drawn characters.”
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“From a technical perspective, ‘Feedback’ is extremely potent for long stretches. However, in aspiring to be relevant to current affairs, the film eschews effective simplicity for confused complexity.”
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“‘Animals’ doesn’t definitively answer it’s feminist question. I’m glad it doesn’t. Rather than making a film about the merits of giving up drink or ditching the guy, Hyde navigates somewhere far more raw.”
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“Although ‘Come to Daddy’ slightly loses while accelerating to its conclusion, the splatter of dark comedy and dysfunctional father-son dynamics is always engaging and frequently smart.”
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“By the final act, Ferrara has presented both the man and the legend, but can’t seem to decide which version he wants the audience to remember.”
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“The Kitchen fares so much better when read as a kind of self-aware meta-narrative of the gangster film, and an examination of Berloff’s construction of the men is one argument for why this rare, female-helmed genre piece deserves a second look.”
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“Refusing to look down on their characters, Kazakova and Mileva effectively portray disillusion by relying on familiarity and recognition to bring the marginalised closer.”
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