Berlinale 2019 Review: Rob Garver’s ‘What She Said: The Art of Pauline Kael’
“Garver doesn’t really provide more than an overview, but perhaps that will indeed bring new eyes to some great American writing.”
Berlinale 2019 Review: Agnieszka Holland’s ‘Mr. Jones’
“A worthy tale of a pivotal figure, ‘Mr. Jones’ deserves consideration, even if it is to be met with confusion and scorn.”
Berlinale 2019 Review: Alejandro Landes’ ‘Monos’
“‘Monos’ is a powerhouse of mood and aesthetic, weaponising every element of the form in service of a nightmarish descent into hell in the vein of ‘Lord of the Flies’ or ‘Heart of Darkness.’”
IFFR 2019 Bright Future Review: Miko Revereza’s ‘No Data Plan’
“‘No Data Plan’ is a story for our times. More importantly, it’s a snapshot of a way of life that’s already become commonplace for untold numbers of people in the U.S. and worldwide.”
Berlinale 2019 Review: Joanna Hogg’s ‘The Souvenir’
“‘The Souvenir’ is an infuriating but ultimately rewarding experience set to inspire deep criticism and analysis.”
IFFR 2019 Bright Future Review: Ivan Salatić’s ‘You Have the Night’
“Waves are dark in Salatić’s sea, and the sound of a constant, unavoidable motor seems to be heard within every character.”
IFFR 2019 Bright Future Review: Simona Kostova’s ‘Dreissig’
“By suggesting that this 24-hour period is a milestone, or page, of an ongoing story, Kostova creates an insightful portrait crafted from carefully-observed scraps and shards. The result is strangely dazzling, like a mosaic.”
Horns Up for Penny Lane’s ‘Hail Satan?’
“As a movie experience, ‘Hail Satan?’ often lives deliciously.”
Review: Jihane Chouaib’s ‘Go Home’
“‘Go Home’ is quite a modest film in its wider intentions and cultural implications, and that often works to its advantage from a technical perspective.”
Review: Jonas Åkerlund’s ‘Lords of Chaos’
“‘Lords of Chaos’ is a nasty little treat: involving, fascinating and often shocking.”
IFFR 2019 Review: Ryûsuke Hamaguchi’s ‘Asako I & II’
“With surprising poignancy, ‘Asako I and II’ channels the humbling smallness of life’s journey, and the human tendency to resist this banal, often disappointing reality with self-delusion.”
Review: Morgan Neville’s ‘They’ll Love Me When I’m Dead’
“Its vibrating self-awareness, unwieldy traveling circus vibe and mind-bending movie-within-a-movie duality allow Welles to simultaneously mock and indulge in the critically celebrated, sexually-charged, Antonioni-style, European art film.”
Dan Gilroy’s ‘Velvet Buzzsaw’ Doesn’t Work as a Thriller or Satire
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
IFFR 2019 Review: Philippe Lesage’s ‘Genèse’
“Lesage has once more proven himself to be an astute chronicler of personal growth in those turbulent and anxiety-ridden years where the mind and the body are as mysterious as they are vulnerable.”
Sandi Tan’s ‘Shirkers’ Is an Indie Filmmaking Dream Deferred
“How many movies have been lost or nearly lost to circumstances before a public release can provide closure for the anxious and expectant filmmaker?”
IFFR 2019 Review: Jane Schoenbrun’s ‘A Self-Induced Hallucination’
“A thorough, engaging thesis that bridges physical and digital gaps both affirming and sinister, ‘A Self-Induced Hallucination’ is a witty, gripping compilation of collaborative creativity and sterile self-interest.”
Two Hearts: The Love and Loss of Pawel Pawlikowski’s ‘Cold War’
“Another stunning work of perfectly placed ellipses and calculated restraint, Pawel Pawlikowski’s ‘Cold War’ is a film filled with images as iconic and austere as its blunt title.”
‘Glass’ Is a Superhero Movie for People Who Like Analyzing Superhero Movies
“Where DC trades in grim realism and Marvel does the whole snarky, joke-a-minute thing, the Shyamalanverse is a flavor all its own, a world where superheroes exist, but they don’t wear capes and their lives are usually pretty awful.”
Netflix’s ‘Close’ Succeeds in Crafting Authentic Female Characters
“The vibrant and explosive opening credits sequence sets the tone for an action-packed story that truly feels real and allows women to feel empowered.”
‘On the Basis of Sex’: Mimi Leder Looks at Ruth Bader Ginsburg’s Early Work
“The biopic-wary should applaud ‘On the Basis of Sex’ for its avoidance of the temptation to cover a longer chronology of Bader Ginsburg’s life and career.”