Review: Billie Piper’s ‘Rare Beasts’
“Between ‘Rare Beasts’ and Alice Lowe’s brilliant ‘Prevenge,’ there might be a burgeoning market for pregnancy-themed horror movies.”
Review: Sian Heder’s ‘CODA’
“Though Coda’s representation of deaf characters is insightful and moving, the film’s reliance on cheap sentimentality threatens its most perceptive and entertaining qualities.”
Review: Sian Heder’s ‘CODA’
“Even though the comic juxtapositions can be as broad as the side of a barn in ‘CODA,’ the familial conflicts on the flip side of the coin resonate with hard truths.”
Review: Ira Deutchman’s ‘Searching for Mr. Rugoff’
“In today’s world of carefully crafted film industry personas, ‘Searching for Mr. Rugoff’ stands out with its character study about an art house fanatic who embraced the beautiful chaos of being a curious cinephile.”
Fantasia Fest Review: Paul Andrew Williams’ ‘Bull’
“Williams’ reliance on violence doesn’t transgress in ‘Bull,’ it merely toes the line. Imagine what he could do if he really let himself go.”
Fantasia Fest Review: Stefan Lernous’ ‘Hotel Poseidon’
“Like any work of surrealism, one is likely to get more out of ‘Hotel Poseidon’ based on how much one puts into it.”
Review: Craig Singer’s ‘6:45’
“There’s a strong message at the heart of ‘6:45,’ in terms of accountability and psychological trauma, but the film seems derivative of genre predecessors and unfocused as a whole.”
Fantasia Fest Review: Sôshi Masumoto’s ‘It’s a Summer Film!’
“‘It’s a Summer Film!’ has a genuine emotional core, which layers each wild twist into another heartrending moment.”
Review: Leos Carax’s ‘Annette’
“Though ‘Annette’ has moments of visual splendor and transcendence, the underutilization of its stars and irritating music make the movie a disappointing return for Carax.”
Review: David Lowery’s ‘The Green Knight’
“The Green Knight’s impactful imagery and intensity outweigh its sometimes overly cryptic metaphors, allowing for quality entertainment.”
Review: Vivian Kleiman’s ‘No Straight Lines: The Rise of Queer Comics’
“One of the most enjoyable aspects of ‘No Straight Lines: The Rise of Queer Comics’ is evident again and again in the close-knit support shared among the ‘elder statespeople.'”
Review: Tom McCarthy’s ‘Stillwater’
“By wrestling with questions of identity, politics and home in a bewitching fashion, ‘Stillwater’ refuses to belittle and judge its characters, and challenges viewers to do the same.”
Review: Carlos López Estrada’s ‘Summertime’
“‘Summertime’ feels wrong-headed, even if its heart is in the right place.”
Review: M. Night Shyamalan’s ‘Old’
“While ‘Old’ never quite fully connects emotionally, the themes inherent in the story help lend the movie the depth it doesn’t get from the performances”
Review: Alexandre Bustillo and Julien Maury’s ‘Kandisha’
“Bustillo and Maury are masters of the slow build, and so it goes in ‘Kandisha,’ which becomes incrementally nastier and gorier with each new victim the vengeful spirit eliminates…”
Review: Michael Sarnoski’s ‘Pig’
“A soulful lead performance and assured direction showcases Cage’s indelible ability to make the silly into the poignant.”
Emma Seligman’s ‘Shiva Baby’ and the Art of Comic Discomfort
“‘Shiva Baby’ is most certainly not a movie for those who get clammy and start to sweat at secondhand embarrassment.”
Cannes Film Festival Review: C.B Yi’s ‘Moneyboys’
“‘Moneyboys’ is a quietly accomplished debut, both a melancholic character drama and a grander study on simmering economic and cultural tensions, be they regional or generational.”
Cannes Film Festival Review: Kira Kovalenko’s ‘Unclenching the Fists’
“‘Unclenching the Fists’ is a haunting watch, but a substantial one; a movie that will move Kovalenko up to the next tier of filmmakers in the arthouse and festival circuit.”
Review: Joe Raffa’s ‘Downeast’
“Even though ‘Downeast’ suffers from thinly-written supporting characters, the lead performances keep the film above water.”