“In an era where Disney allows Marvel to experiment boldly with narrative structures in a show like ‘WandaVision,’ ‘Zack Snyder’s Justice League’ seems like a tired old horse that needs to be put out to pasture.”
“Too often, the tongue-in-cheek tone veers into the empty calorie territory of VH1’s cable television time-filler ‘I Love the ‘80s,’ as subjects like Doug Benson and Ron Funches can’t resist using their screen time to test what feels like standup material.”
“It’s unrealistic to expect every queer film to tackle all aspects of queer life and history, but ‘Cured’ presents its narrative in a way that’s too clean and neat, too much of a happily-ever-after.”
“Sound of Violence’s nonchalant depictions of violence, which occur with such obfuscation due to uncoordinated quick-cut editing and color filters, render it a fangless drama with un-engaging sequences of killing and torture.”
“There are many ways that Gaia’s concepts can be expounded into more interesting discussions, yet Bouwer is fine with maintaining a simplistic if metaphorically informed tale about Mother Nature’s revenge.”
“‘The Greenhouse’ is a cathartic and visually stunning piece of Australian Gothicism which is sure to make an impact on the festival circuit in 2021.”
“‘Enfant Terrible’ is one of the more successful examples of a director biopic, but the familiar conventions of the genre eventually do a disservice to such a talented filmmaker.”
“‘Psycho Goreman’ is delightfully dark, whimsical, charming and frequently laugh-out-loud funny.”
“‘Freeland’ is a tour de force showcase for Fairchild — an overnight sensation several decades in the making.”
“Stone has the look of a teenager with the earned maturity of someone who’s been through some heavy shit, which lends itself well to her teenage prostitute in ‘Honey Bee’ and works just as brilliantly in ‘Come True.'”
“‘Any Day Now’ is a strong contender within the Generation strand of the Berlinale, showcasing brilliant performances from Keshvari and Rönkkönen.”
“While ‘Limbo’ may not be groundbreaking with its formulaic detective narrative, the sheer sense of place and space that Cheang creates allows for a visceral cinematic experience.”
“Céline Sciamma’s ‘Petite Maman’ is a luminous ghost story that succeeds in knitting together the themes of empathy, identity and imagination.”
“Bryan Fogel’s new documentary about the murder of Jamal Khashoggi is unsurprisingly hard-hitting, but it’s the context for macro-scale geopolitics that ‘The Dissident’ communicates so well.”
“There Is No Evil’s artistry is inconsistent, but its argument is undeniable.”
“Both emotionally and narratively, ‘The Man Standing Next’ is an easy story to get lost in.”
“‘Raya and the Last Dragon’ welcomes a reflection on its Asian-fusion design because western adaptations of Asian culture, even with visible and vocal creative Asian input, will come with a spectrum of orientalism…”
“‘Reality fiction’ contours everything in ‘City Hall,’ from the microscopic level of scene transitions to the macroscopic level of entire sequences given deliberate framings…”
“Rather than using the violence itself as a punchline, ‘Voice of Silence’ builds a comedy of manners out of Chang-bok and his colleagues’ sensibilities.”
“The most powerful aspect of ‘Lost Course’ is how it portrays the struggle of the Wukan citizens as a general metaphor for political corruption and the futility of activism.”
