Sundance Review: John Patton Ford’s ‘Emily the Criminal’
“‘Emily the Criminal’ is the most vibrant crime movie to come along since 2019’s ‘Uncut Gems.'”
Sundance Review: Hanna Bergholm’s ‘Hatching’
“An old-fashioned tale given a wonderfully disgusting makeover, ‘Hatching’ is a promising feature debut from Bergholm.”
Sundance Review: Riley Stearns’ ‘Dual’
“While Stearns’ comedy is frequently dark and sardonic, ‘Dual’ is a bit warmer and more spiritual than the average satire, which is surprising given its subject matter.”
On Sundance FOMO, Classic French Cinema and ‘The Last Tycoons’
“‘The Last Tycoons’ is a helpful guide for the multi-tasking cinephile who wants to better understand French cinematic movements, such as La Nouvelle Vague, and the industry as a whole.”
Sundance Review: Oliver Hermanus’ ‘Living’
“‘Living’ translates wonderfully to post-war Britain, but it never gives the audience time to explore the full depths of sadness like Kurosawa’s source material.”
Sara Dosa Shares the Light and the Heat in Volcanology Doc ‘Fire of Love’
“Dosa, like Wes Anderson in ‘The Life Aquatic with Steve Zissou,’ seizes on the stylish allure of entrepreneurship in ‘Fire of Love.'”
Review: Edoardo Vitaletti’s ‘The Last Thing Mary Saw’
“Considering that religious fundamentalists continue to persecute gay people, it’s shortsighted to present a story like ‘The Last Thing Mary Saw’ with such little concern for the current real-life ramifications of being queer.”
Review: Matt Bettinelli-Olpin and Tyler Gillett’s ‘Scream’
“‘Scream’ conjures up a fast-moving, razor-sharp, viciously violent and sufficiently surprising modern slasher of which Craven himself would be proud.”
Sean Baker’s ‘Red Rocket’ Is Go for Launch
“Baker’s appreciation for even the smallest roles is a chief delight of ‘Red Rocket.'”
Céline Sciamma Finds Magic in ‘Petite Maman’
“Sciamma’s handling of the interactions between the kids is as confident and as beautifully realized as the depiction of relationships in ‘Water Lilies,’ ‘Tomboy’ and ‘Girlhood.'”
Review: Joachim Trier’s ‘The Worst Person in the World’
“‘The Worst Person in the World’ shows off the filmmaker’s command of rhythm and his affinity for the perfectly placed pop song.”
‘Drive My Car’: Hamaguchi Takes the Wheel
“For all the viewers who give themselves over to Hamaguchi’s meticulous attention to detail and powerful expression of character, the entire movie flies.”
This Is the Sound: Apichatpong Weerasethakul Contemplates ‘Memoria’
“Reading ‘Memoria’ as metanarrative unlocks only one layer of joy — Weerasethakul treats Jessica’s quest with complete respect. The source of the sound is eventually revealed. And with that revelation, the filmmaker just GOES FOR IT.”
Mind Your Manners at the House of Sorrentino
“In a time when filmmakers get hung out to dry for depicting problematic characters, why is it still OK to mock Italian culture every time a big Italian-themed movie releases?”
Review: Michael M. Bilandic’s ‘Project Space 13’
“In films like ‘Hellaware’ and ‘Jobe’z World,’ Bilandic favors the abstract over character development. ‘Project Space 13’ is much more refined and practical; the jokes land better because of the depth and organic qualities.”
Paul Thomas Anderson’s ‘Licorice Pizza’ Has All the Best Toppings
“Both ‘Licorice Pizza’ and ‘Once Upon a Time in Hollywood’ nail the anything-is-possible look and feel of Southern California dreaming.”
Review: Guillermo del Toro’s ‘Nightmare Alley’
“Those who’ve come to love del Toro for his auteurist elements may be put off by ‘Nightmare Alley’ — it’s recognizably his film, yet it jettisons the presence of a supernatural element as well as twists the usual empathy found in his movies toward darker ends.”
Review: Gonzalo Maza’s ‘This Is Cristina’
“‘This Is Cristina’ makes a strong case for the idea that truly honest art emerges when one feels like they have lost everything else.”
Review: Maximiliano Contenti’s ‘The Last Matinee’
“‘The Last Matinee’ doesn’t necessarily celebrate gore cinema, but rather the concept that moviegoers can evolve and mature by directly facing their fears.”
Review: Jane Campion’s ‘The Power of the Dog’
“It is surely a disservice to reduce Campion’s filmography to a study in gender, despite the longstanding focus of so much scholarship.”