Netflix Review: Joe Wright’s ‘The Woman in the Window’
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
Review: Ryan Kruger’s ‘Fried Barry’
“‘Fried Barry’ is busy and overstuffed, but it’s also an incredibly promising and deeply weird reinvention of the body invasion thriller; a strange, disorienting and ultimately rewarding experience.”
Netflix Review: Alexandre Aja’s ‘Oxygen’
“Oxygen’s relevance strikes like lightning in a year when time is measured less by Earth’s tilt and more by first wave, second wave, red phase, yellow phase; not by time passing daily, but by how much danger remains in the room.”
Review: Ben Sharrock’s ‘Limbo’
“Ben Sharrock’s entracing new film ‘Limbo’ is a perceptive and earnest work.”
Review: Rob Garver’s ‘What She Said: The Art of Pauline Kael’
“Rob Garver’s ‘What She Said: The Art of Pauline Kael’ is a worthwhile biography of a fascinating life led with purpose and conviction.”
Netflix Review: Anthony Mandler’s ‘Monster’
“‘Monster’ seems like it doesn’t trust itself to connect with viewers without over-explanation.”
Review: Alexis Cahill and Brigitte Drodtloff’s ‘Queen Marie’
“‘Queen Marie’ may not be a modern historical classic, but its wink-of-the-eye moments subtly inform the audience about the filmmakers’ intent. That, I can appreciate.”
Review: Karl Holt’s ‘Benny Loves You’
“Taking its cues from the later Chucky movies, ‘Benny Loves You’ embraces the inherent insanity of the premise, setting it free in a similar manner to how the titular toy runs riot.”
Review: Yimou Zhang’s ‘Cliff Walkers’
“Yimou Zhang’s ‘Cliff Walkers’ looks amazing but suffers from poorly-written characters and stiff performances.”
Review: Nikole Beckwith’s ‘Together Together’
“Together Together’s rumination on difficult work, new friendships and social bonding captures a pandemic mood, and works as a welcome addition to the niche genre of surrogacy cinema.”
