Rich Man, Poor Man: Keith Maitland’s ‘Dear Mr. Brody’
“Maitland’s sense of graphic design and visual organization are chief pleasures of ‘Dear Mr. Brody.'”
Review: Bertrand Mandico’s ‘After Blue’
“‘After Blue’ isn’t completely impenetrable, and it is lovely to look at, but if there’s a strong feminist statement being made — underneath the flagrant nudity and sexual escapades — it’s buried pretty deep.”
Review: Emily Kunstler and Sarah Kunstler’s ‘Who We Are: A Chronicle of Racism in America’
“Directors Emily Kunstler and Sarah Kunstler blend creative visual storytelling with keen legal and historical acumen to transform Jeffery Robinson’s potent stage lecture into one of the most vital documentaries of the year.”
Review: Philipp Virus’ ‘Freakscene: The Story of Dinosaur Jr.’
“Director Philipp Reichenheim (who also uses the handle Philipp Virus) compiles a serviceable primer on the wall of sound produced by one of the seminal power trios of 1980s independent/DIY music.”
Review: Audrey Diwan’s ‘Happening’
“‘Happening’ will remind viewers of Eliza Hittman’s ‘Never Rarely Sometimes Always’ for the way in which both films present the practical challenges faced by women seeking abortion care.”
‘Nope’: Jordan Peele Goes West in Imaginative Genre Mash-Up
“One of the most refreshing dimensions of ‘Nope’ resides in Peele’s willingness to trust viewers to follow him into unexpected territory.”
Practical Magic for the Family: Jacob Estes’ ‘He’s Watching’
“‘He’s Watching’ is a practical and efficient horror film in the style of Rob Savage’s ‘Host’ (2020), but its brilliance lies in Estes’ subversive funhouse mirror approach.”
Review: Adam Christian Clark’s ‘Diary of a Spy’
“‘Diary of a Spy’ mostly keeps viewers in the dark; it’s unclear what makes the main characters tick. Anna and Camden are Dostoevskian figures in spirit, from a different tale, who seem lost in time.”
Review: Sophie Hyde’s ‘Good Luck to You, Leo Grande’
“Hyde’s handling of the material, confirmed by her tone and the setting, should not be condemned for something it is decidedly not.”
There Are No Stupid Questions
“‘Ruth Stone’s Vast Library of the Female Mind’ is an inspiring excavation of the subject’s subconscious; a trip that shouldn’t be avoided by off-the-grid creatives.”
Review: Cooper Raiff’s ‘Cha Cha Real Smooth’
“I think Raiff is a legitimate addition to the broad group of artists identified with the New Sincerity trend as popularized by David Foster Wallace and Jim Collins.”
Not Forever on Earth: The Moving Image as Spiritual Medicine in Dario Guerrero’s ‘Rocío’
“‘Rocío’ is one of those special films that has the power to heal and calm the mind.”
Review: Seth Breedlove’s ‘American Werewolves’
“‘American Werewolves’ takes itself seriously but doesn’t fully engage with Western Kentucky prank lore or Native American traditions that could help explain Dogman sightings.”
Review: Charlotte Colbert’s ‘She Will’
“‘She Will’ is an impressive introduction to Colbert as a filmmaker, not to mention a great showcase for what Krige can do with a leading role.”
Review: Tia Lessin and Emma Pildes’ ‘The Janes’
“Lessin and Pildes smartly frame speakers in well-lit, detailed close-ups, often in the cozy surroundings of living spaces and kitchens. The approach underlines the common and the everyday without diminishing the legacies in action.”
Review: Josephine Decker’s ‘The Sky Is Everywhere’
“Decker is committed to immersiveness and immediacy. Her bold and passionate choices value and validate the subjective experiences of female artists/creators toiling to figure it all out.”
The Redemption of Sexual Reality
“‘A Sexplanation’ is both timely and hilarious, a big brain event.”
Kate Dolan Debuts with Effective ‘You Are Not My Mother’
“‘You Are Not My Mother’ lives at the fringes of folk horror, but the underlying family melodrama drives a story more interested in generational trauma than a supernatural fairytale.”
Alexandre O. Philippe Follows the Yellow Brick Road in Fascinating ‘Lynch/Oz’
“Come for Lynch and stay for the feverish celluloid love lessons that reach far beyond DKL’s oeuvre. ‘Lynch/Oz’ weaves together dozens of movies in an intertextual kaleidoscope.”
Talia Osteen’s Feature Debut ‘Sex Appeal’ Sends Positive Message
“‘Sex Appeal’ may lack the kind of nuance that powers ‘Booksmart,’ but the film deserves credit for sticking the landing.”