Review: Deepa Mehta’s ‘Funny Boy’
“‘Funny Boy’ may seem groundbreaking on paper, but there’s nothing particularly original about this overly familiar and largely reductive adaptation of an acclaimed novel.”
Review: Mickey Reece’s ‘Climate of the Hunter’
“‘Climate of the Hunter’ is eager to cultivate a sense of unease, but Reece isn’t invested in doing anything with it.”
Review: Robert Machoian’s ‘The Killing of Two Lovers’
“How wonderful it is to watch a film in 2020 that displays style and true enthusiasm for the art of movie-making.”
Review: Patrick Picard’s ‘The Bloodhound’
“There’s a timelessness to ‘The Bloodhound’ that puts it on a par with recent and similarly quietly-horrific offerings like ‘It Follows’ and ‘Piercing’…”
Review: Christopher Landon’s ‘Freaky’
“‘Freaky’ is uneven, but it has moments of magic.”
Review: Justin G. Dyck’s ‘Anything for Jackson’
“‘Anything for Jackson’ is a perfect example of wasted potential, as the film contains some solid elements that Dyck fails to build upon.”
Review: Massoud Bakhshi’s ‘Yalda, a Night for Forgiveness’
“‘Yalda’ shows itself to be a deft treatise on how the contradictions of our modern world complicate something even as simple as saying sorry.”
David Fincher Pays Tribute to His Father and Old Hollywood in ‘Mank’
“‘Mank’ probably spends more time than necessary defining the protagonist’s own crisis of conscience within a corrupt and decaying dream factory.”
Review: Adam Egypt Mortimer’s ‘Archenemy’
“‘Archenemy’ could easily ditch all the higher concept stuff and simply exist as a dark buddy comedy. As it stands, this is an interesting misfire for Mortimer…”
Review: David Fincher’s ‘Mank’
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”