Review: Damian Mc Carthy’s ‘Oddity’
“‘Oddity’ is the scariest movie of the year.”
Review: Jonathan Smith’s ‘Guy Friends’
“The main issue with ‘Guy Friends’ is that the film hinges on Jariwala’s performance, which is heavy on histrionics and lacking in truth.”
Review: Natalie Erika James’ ‘Apartment 7A’
“Natalie Erika James manages to follow a near-identical narrative formula to ‘Rosemary’s Baby’ but without the sense of genuine danger. A story that should retain its prescience is rendered nothing more than nostalgia bait.”
Review: Antonia Bogdanovich’s ‘Sleep No More’
“‘Sleep No More’ remains a mishmash of clichés, genres and lackluster ideas.”
Review: Pascal Plante’s ‘Red Rooms’
“Perhaps Plante wasn’t sure how to end ‘Red Rooms’ without veering into sensationalism, which is commendable, but it doesn’t solve the problem of crafting an intriguing reason for why Kelly-Anne is so driven.”
Review: Coralie Fargeat’s ‘The Substance’
“‘The Substance’ feels weirdly outdated, despite the writer-director’s many provocative attempts to demonstrate how misogyny and ageism play out in contemporary media.”
TIFF Review: David Cronenberg’s ‘The Shrouds’
“Much of what makes ‘The Shrouds’ equally interesting and irritating is that Cronenberg seems to see conspiracy, confusion and competing dialogue as something impenetrable.”
TIFF Review: Raoul Peck’s ‘Ernest Cole: Lost and Found’
“The refreshing clarity of Peck’s style in ‘Ernest Cole: Lost and Found’ often feels like a drawback in the way that it disrupts the emotional weight of voice and visual form.”
Review: Abhilash Shetty’s ‘Naale Rajaa Koli Majaa’
“With ‘Naale Rajaa Koli Majaa,’ Shetty gracefully explores the peculiarities of human relationships and the ironies of daily life in India, wherein the contemporary urban existence often stands at a crossroads with ancient traditions.”
TIFF Review: Mati Diop’s ‘Dahomey’
“It’s quite remarkable how Diop captures the collective view of a West African country through her debate sequences in ‘Dahomey.'”
Review: Brendan Walsh’s ‘I’ll Be Right There’
“Through well-defined performances and character dynamics, ‘I’ll Be Right There’ presents heartwarming ideas about personal growth with a genuine thoughtfulness and clever humor, resulting a a beguiling viewing experience.”
Review: Jeremy Saulnier’s ‘Rebel Ridge’
“For a filmmaker who made his name with two hyper-violent thrillers that triggered some queasy walkouts on the festival circuit, the character-driven moments in ‘Rebel Ridge’ feel like an evolution for Saulnier.”
Review: Hoag Kepner’s ‘Torched – The Story of the Austin Torch’
“As a sports documentary, ‘Torched’ succeeds by establishing and celebrating the DIY culture of both Austin, Texas and the featured frisbee squad.”
Edinburgh Film Festival Review: Nathan Silver’s ‘Between the Temples’
“With ‘Between the Temples,’ Silver shows an awareness of dramedy cliches and takes great pleasure in making the audience’s skin crawl each time the narrative takes a sharp left turn from expectations.”
Edinburgh Film Festival Review: Nora Fingscheidt’s ‘The Outrun’
“‘The Outrun’ feels lacking in the specificity that makes for rewarding character drama.”
Review: Fede Álvarez’s ‘Alien: Romulus’
“What sells the overall ‘Alien: Romulus’ experience is the genuine authenticity of the cast itself.”
Review: Vivian Kerr’s ‘Scrap’
“‘Scrap,’ the feature directorial debut from actress Vivian Kerr, is yet another festival darling that is indeed charming, but one that doesn’t quite pack a punch with its overall visual design and technical execution.”
Review: Ran Huang’s ‘What Remains’
“‘What Remains’ is a low-key stylish film about human potential and the elevation of consciousness, though Huang keeps the audience trapped in a dark and uncomfortable place with his cryptic storytelling.”
Review: Rich Peppiatt’s ‘Kneecap’
“If ‘Kneecap’ was merely the first ‘edgy’ comedy in years with gags as shocking as they are laugh-out-loud hysterical, that would be enough to recommend it.”
Review: Jac Cron’s ‘Chestnut’
“Director Jac Cron shows major filmmaking potential with her feature debut, though the underdeveloped screenplay will presumably irritate the casual moviegoer.”