“At a certain point, and you’ll know when, the dialogue takes a dramatic turn; it’s almost as if Benson decided to use every pre-production joke centered around a most obvious plot point.”
“Surprisingly, director Stearns spends little time navigating the physical world of Faults (the cult); he takes a minimalist approach and produces a game of psychological chess.”
“Gurov and Anna toys with perceptions and ultimately gives into both cynicism and brutality.”
“While Cronenberg’s visuals and Bruce Wagner’s dialogue left me speechless early on, the pacing and tone of the final half inspired a couple face-palms. Even so, Cronenberg has plenty to say with Maps to the Stars, and the film’s best moments are powerful.”
“Grief is quite clearly the central theme of Chorus, and the film portrays two people gripped with guilt, anger and sadness at the loss of their child. Loneliness and isolation pervade the universe of the film, the characters drifting and barely connecting with the world around them.”
“Director Mitchell works his settings to the fullest, whether it’s the perceived isolation of a beach, a seemingly safe school or the inevitable, claustrophobic moment of domesticity.”
“Much like Polanski, the Keelings don’t rely on cheap gags to convey horror, as The House on Pine Street succeeds through outstanding cinematography and the refined acting of Emily Goss.”
The Overnighters isn’t a film specifically about about the trials and tribulations of Pastor Jay Reinke; it’s about Americans trying to get by in the unlikeliest of places.
A brief moment of clarity for Jennifer Lawrence’s Katniss Everdeen (and the movie theatre audience): midway through The Hunger Games: Mockingjay – Part 1, the new rebellion leader comes to a disturbing realization after teasing her sister’s cat.
Simmering with sensuality, the second feature from NYC filmmaker Josephine Decker enraptures with vivid imagery while establishing a burning fire of abstract connotations.