Review: George Clooney’s ‘The Boys in the Boat’
“By only fleetingly bringing attention to the economic hardships at play, ‘The Boys in the Boat’ frustratingly remains a niche proposition, of fascination only to fans of the film’s focal sport.”
Review: William Oldroyd’s ‘Eileen’
“A film drastically less than the sum of its parts, ‘Eileen’ commits the unfortunate blunder of continually reminding one of similar, better movies.”
Review: Ridley Scott’s ‘Napoleon’
“‘Napoleon’ is very much a repudiation and a revolt against history’s ‘Great Men.'”
Review: Paul Briganti’s ‘Please Don’t Destroy: The Treasure of Foggy Mountain’
“‘The Treasure of Foggy Mountain’ doesn’t match the quality of mid-level Adam Sandler comedies, but it just may work as a double-billing with Akiva Schaffer’s 2007 film ‘Hot Rod’ starring Andy Samberg…”
Review: Casey Nelson and Marchelle Thurman’s ‘Black White and the Greys’
“‘Black White and the Greys’ isn’t defined by its political dialogue, but rather by its handling of the human condition. And it’s arguably one of the best COVID-themed movie productions since the similarly minimalist ‘Host’ (Shudder, 2020).”
Review: David Fincher’s ‘The Killer’
“Ultimately, ‘The Killer’ is just a fun, pulpy romp that is more akin to the plug-and-play adventures of I.O. Interactive’s ‘Hitman’ series than a profound statement on the culture at large.”
The Messiness of Belonging: On Martina Radwan’s ‘Tomorrow, Tomorrow, Tomorrow’
“Powered by Radwan’s empathy and the subjects’ collective determination, ‘Tomorrow, Tomorrow, Tomorrow’ is a must-see world cinema documentary.”
Review: Tyler MacIntyre’s ‘It’s a Wonderful Knife’
“‘It’s a Wonderful Knife’ is watchable but slight. And considering how popular Hallmark Christmas movies continue to be, maybe that’s all horror fans will really expect.”
Review: Toby Amies’ ‘In the Court of the Crimson King: King Crimson at 50’
“Amies’ revelatory rock doc succeeds by exploring the sacred and profane aspects of the subject’s musical mentality.”
Review: Paco Plaza’s ‘Sister Death’
“With ‘Sister Death,’ Plaza builds upon traditional elements of the possession movie by expanding his cinematic universe through cosmic horror.”
Philadelphia Film Festival Review: Xiaopeng Tian’s ‘Deep Sea’
“Xiaopeng Tian’s ‘Deep Sea’ features the most mesmerizing animation since ‘Spider-Man: Across the Spider-Verse.'”
Philadelphia Film Festival Review: Takeshi Kitano’s ‘Kubi’
“A total riot, ‘Kubi’ is a consummate epic that pokes fun at components of the subject matter while communicating the cold tragedy.”
Review: Jaco Bouwer’s ‘Breathing In’
“‘Breathing In’ effectively deconstructs themes of eternity, loyalty and slow strategy — it’s a timely tale about the horrors of war.”
London Film Festival Review: Mahalia Belo’s ‘The End We Start From’
“‘The End We Start From’ falls short of being a meaningful observation on the perils of climate injustice, but the film succeeds as an embodiment of maternal commitment, largely due to Comer’s wonderfully present performance.”
London Film Festival Review: Angela Schanelec’s ‘Music’
“The rhythms in ‘Music’ — the shift from one image to the next — make sense in ways that defy obvious explanation, much like the film itself.”
London Film Festival Review: Anh Hung Tran’s ‘The Taste of Things’
“There is no one better at channelling the multi-faceted force of joy than Binoche, whose entrancing performance grounds ‘The Taste of Things’ in its gentle tragedy.”
London Film Festival Review: Goran Stolevski’s ‘Housekeeping for Beginners’
“Stolevski’s work has air and breath to it, like someone in love with the energy of simply creating.”
London Film Festival Review: Hayao Miyazaki’s ‘The Boy and the Heron’
“A distinctly Ghibli feel pervades ‘The Boy and the Heron,’ which more comprehensively and ambitiously connects the studio’s interests than ever before — in whimsy and poignancy, struggle and adventure, the serious and the magical.”
London Film Festival Review: Warwick Thornton’s ‘The New Boy’
“‘The New Boy’ is a film of deep, mystical qualities, and I can’t wait to revisit it.”
London Film Festival Review: Andrew Haigh’s ‘All of Us Strangers’
“‘All of Us Strangers’ is a film that becomes all the more haunting the further from it you get.”