Review: Sean Durkin’s ‘The Nest’
“Nothing presented in ‘The Nest’ will radically alter the viewer’s perception of the family unit, marriage or even greed, but Durkin’s film suggests that is indeed the point.”
Review: Kornél Mundruczó’s ‘Pieces of a Woman’
“There’s a lot to admire about ‘Pieces of a Woman,’ but Mundruczó’s film loses its way as it continues to untether itself from the opening’s grounded realism.”
Review: Yoon Een-Kyoung’s ‘Lingering’
“Even if ‘Lingering’ is ultimately a disappointing experience, it promises much in the future from Yoon and the crew.”
Review: Rama Rau’s ‘Honey Bee’
“Stone, who’s barely in her twenties, is truly exceptional in the lead role. Her naturalistic ‘Honey Bee’ performance is as raw as an exposed nerve.”
Ben Wheatley’s ‘Rebecca’: There’s Nothing Behind the Wallpaper
“‘Rebecca’ feels sanded out, erased of all imperfection, identity and mystery.”
Review: Sofia Coppola’s ‘On the Rocks’
“Coppola has always shown an affinity for mixing laughter and introspection, and ‘On the Rocks’ successfully deploys the strategy.”
Review: Robert Zemeckis’ ‘The Witches’
“Whatever ‘The Witches’ gains from its desire to provide computer-polished eye candy is hampered by the impersonal corporate feeling which results from this approach.”
Spike Lee Visits David Byrne’s ‘American Utopia’
“The 68-year-old Byrne of today is less livewire, exposed-nerve, performance-art provocateur and more professorial elder statesman…”
Review: Jason Woliner’s ‘Borat Subsequent Moviefilm’
“A finely calibrated blend of lowbrow vulgarity and sharp social satire, ‘Borat Subsequent Moviefilm’ is a document — or mockument — of and for the moment.”
Austin Film Festival Review: Michael Lovan’s ‘Murder Bury Win’
“‘Murder Bury Win’ never runs out of steam, remaining consistently witty, unpredictable and super fun throughout.”
London Film Festival Review: Steve McQueen’s ‘Lovers Rock’
“‘Lovers Rock’ becomes something truly special whenever all sense of plot and character falls away entirely.”
Review: Ryan Spindell’s ‘The Mortuary Collection’
“Spindell pays homage to many horror productions, yet his film is its own uniquely strange, inventive, entertaining and frequently frightening little monster.”
London Film Festival Review: Damiano and Fabio D’Innocenzo’s ‘Bad Tales’
“Damiano and Fabio D’Innocenzo’s second feature, ‘Bad Tales,’ is morbidly curious and content to simmer in its own pessimism.”
London Film Festival Review: Francis Lee’s ‘Ammonite’
“Lee has, over his two films so far, proven a dab hand at teasing out unexpressed, furtive desires, depicting both the visceral emotions and gritty physicality of same-sex romance with empathy and an understated artistic flair.”
London Film Festival Review: Michel Franco’s ‘New Order’
“By the time Franco joins together strands that the audience will most likely have seen coming, ‘New Order’ grinds to a halt.”
London Film Festival Review: Brandon Cronenberg’s ‘Possessor’
“There is so much stuff in ‘Possessor’ that you might think you’re at a venerable cinematic feast. But take away the squelching and splatter and there’s barely enough to fill an episode of ‘Black Mirror.’ The food turns to cotton wool in your mouth.”
London Film Festival Review: Harry Macqueen’s ‘Supernova’
“‘Supernova’ is a film that many will cherish if audiences can be absorbed by the overt metaphors and can look beyond the Rich White Male vantage point.”
London Film Festival Review: Jennifer Sheridan’s ‘Rose’
“Many British micro-productions focus on Britain’s mud. ‘Rose’ shows us the frost.”
Encounters Film Festival: ‘Betty’ and the Failed Romance Movie
“‘Betty,’ through the simplest of guises — bare-bones animation, a bit of music and a wry, haphazard director’s commentary — is an impressive feat of doing a lot with extremely little.”
London Film Festival Review: Natalia Meta’s ‘The Intruder’
“‘The Intruder’ interpolates the parts of Giallo without the scares, keeping true to the genre’s more strictly crime-oriented titles like ‘The Cat o’ Nine Tails.'”