“‘Yi Yi’ is a film for grown ups in the sense that the characters have lived long enough to understand how memories of people can stay with them over the course of their lives. Keeping your distance from people is not the same as giving up on them.”
“Quatermass is an eccentric antihero who presages Doctor Who in his singular disregard for established mores and the niceties of procedure…”
Tribeca Film Festival 2020: Marshall Shaffer on ‘Pray Away, ‘Socks on Fire, ‘499’ and ‘Through the Night’
“By focusing on three elderly Ushimado residents, Sôda has unconsciously managed to both comment on the present and the past, as the subjects seem like relics or museum articles that have come to life through monochromatic photography.”
“Haley Bennett’s central performance is career-best work.”
“Perhaps the exaggerated disregard for human life in the name of national pride, entertainment and prosperity in ‘Death Race 2000’ is a timely trigger for reassessing priorities as we await a return to normalcy.”
“It is during the 70s that the disaster film’s most pure and admirable entries were made, bookended by two significantly different stories involving air travel fiascos.”
“Channeled through science and machines, good ol’ American ‘know-how’ had helped win the war, save democracy and crush tyranny. It’s understandable that a similar story would percolate through to the small-scale conflicts of cops and criminals.”
“As a chronicler of the justice system in a dozen or more films, Lumet is intimately concerned with the ways in which it represses individual thought and fails to live up to its supposedly defining principles.”
“In the cinema of Michael Mann, romance comes fast or not at all, often smothered by the anonymous network of mankind itself or maybe just your job.”
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
“Hittman’s third feature continues to demonstrate the talents, sensibilities and cinematic evolution of a first-rate writer-director…”
“It’s not difficult to see how PlayTime’s jubilant finale — with its invocation to fashion the city to its occupants’ sense of fun, desires and needs — is perhaps Tati’s most profound statement of his participatory cinema.”
“‘The Magic Christian’ cries out to be re-visited. For all the cultural specificity of the novel and film, Grand remains a strikingly modern figure.”
“‘Dry Summer’ and ‘Law of the Border’ remain available as fascinating, engaging documents of a national cinema often forgotten.”
“‘The Green Fog’ is another shining example of how easy it can be to disappear in the silver screen labyrinth. These mirrors and rhymes of familiar sights, looks, places, actions and themes form the basis of how we experience narrative filmmaking.”
“In order to fully engage with horror films, it’s important to look at the monster and the world that’s being upended by that monster.”
“‘Naked’ is just as emotionally raw now as it was when it was made, just as acrid and acerbic, and only seems to gain pertinence with age, as the toxic traits of masculinity into which it offers insight become more and more clearly identifiable in society.”
“The thrill of a film like ‘Q & A’ comes in watching how Lumet finds new ways to level his criticisms, harnessing the cynicism that has propelled his work and suffusing each frame with deep, corrupting rot.”
“Not quite comedies, not entirely horror movies and not normal family films, Dante’s work continues to impress with the layers each work reveals over time, a key factor in their lasting power.”