Sundance Review: John Patton Ford’s ‘Emily the Criminal’
“‘Emily the Criminal’ is the most vibrant crime movie to come along since 2019’s ‘Uncut Gems.'”
Sundance Review: Hanna Bergholm’s ‘Hatching’
“An old-fashioned tale given a wonderfully disgusting makeover, ‘Hatching’ is a promising feature debut from Bergholm.”
Sundance Review: Riley Stearns’ ‘Dual’
“While Stearns’ comedy is frequently dark and sardonic, ‘Dual’ is a bit warmer and more spiritual than the average satire, which is surprising given its subject matter.”
On Sundance FOMO, Classic French Cinema and ‘The Last Tycoons’
“‘The Last Tycoons’ is a helpful guide for the multi-tasking cinephile who wants to better understand French cinematic movements, such as La Nouvelle Vague, and the industry as a whole.”
Sundance Review: Oliver Hermanus’ ‘Living’
“‘Living’ translates wonderfully to post-war Britain, but it never gives the audience time to explore the full depths of sadness like Kurosawa’s source material.”
Sara Dosa Shares the Light and the Heat in Volcanology Doc ‘Fire of Love’
“Dosa, like Wes Anderson in ‘The Life Aquatic with Steve Zissou,’ seizes on the stylish allure of entrepreneurship in ‘Fire of Love.'”
Review: Edoardo Vitaletti’s ‘The Last Thing Mary Saw’
“Considering that religious fundamentalists continue to persecute gay people, it’s shortsighted to present a story like ‘The Last Thing Mary Saw’ with such little concern for the current real-life ramifications of being queer.”
Review: Matt Bettinelli-Olpin and Tyler Gillett’s ‘Scream’
“‘Scream’ conjures up a fast-moving, razor-sharp, viciously violent and sufficiently surprising modern slasher of which Craven himself would be proud.”
Sean Baker’s ‘Red Rocket’ Is Go for Launch
“Baker’s appreciation for even the smallest roles is a chief delight of ‘Red Rocket.'”
Céline Sciamma Finds Magic in ‘Petite Maman’
“Sciamma’s handling of the interactions between the kids is as confident and as beautifully realized as the depiction of relationships in ‘Water Lilies,’ ‘Tomboy’ and ‘Girlhood.'”
Review: Joachim Trier’s ‘The Worst Person in the World’
“‘The Worst Person in the World’ shows off the filmmaker’s command of rhythm and his affinity for the perfectly placed pop song.”
Concealed Fury: Hélier Cisterne’s ‘Vandal’
“Cisterne poses important questions about adolescent identity and touches on the blossoming of artistic expression in ‘Vandal,’ but the concealed fury of each character ultimately remains an enigma (along with their understanding of the real world).”