“Where Pier Paolo Pasolini pushed the obscenity of fascism to levels that go beyond cinema, to something further back into the subconscious history of art and complicity in aesthetics of evil, ‘Dara of Jasenovac’ merely rubs the audience’s noses in misery.”
“Despite Stalking Chernobyl’s clear position on the dangers of expanding nuclear power, Lee does not shrink from the otherworldly allure that draws so many to Chernobyl and Pripyat.”
“‘Saint Maud’ proves, once again, that horror, and particularly indie horror, provides the opportunity for first timers to take real risks.”
“‘Prime Time’ is at its most energetic and engaging during the early scenes; a setup familiar enough for any viewer of Sidney Lumet’s ‘Dog Day Afternoon’ or the many films he inspired.”
“‘Land’ is positioned as an exploration of grief and survivor’s guilt — a crowded celluloid space – but the lack of distinctive figures renders Wright’s film picturesque but fallow.”
“‘Tove’ is a tribute to all creatives who pursue their passion projects, and applauds those who are able to break free from bindings.”
“‘Sator’ is a slow burn, and the payoff for waiting around will not suit everybody. Like ‘Blair Witch,’ it requires your full attention to really make an impact — half-watching while scrolling through Twitter won’t cut it.”
Greg Carlson Reviews Rodney Ascher’s ‘A Glitch in the Matrix’
“Only 37 years old, Alberdi is a dynamic figure in documentary studies and practice.”
“‘Mayday’ is the filmic equivalent of an answer to a distress call, letting those in need simply know that it’s there.”