Review: Mariem Pérez Riera’s ‘Rita Moreno: Just a Girl Who Decided to Go for It’
“With ‘Rita Moreno: Just a Girl Who Decided to Go for It,’ Pérez Riera strikes the right balance of ‘then-and-now’ throughout the fast-moving, 90-minute running time.”
Review: Eytan Fox’s ‘Sublet’
“‘Sublet’ is a well-done film that manages to fuse different cultures and stories through its central romantic fling, renting its short running time for a meaningful, if imperfect experience.”
Review: Jeanne Leblanc’s ‘Les nôtres’
“A stunning and suffocating Quebecois drama, ‘Les nôtres’ spotlights the exquisite directorial form of filmmaker Jeanne Leblanc and the industry potential of lead actress Emilie Bierre.”
Tribeca 2021 Review: Gaysorn Thavat’s ‘The Justice of Bunny King’
“The single element that carries ‘The Justice of Bunny King’ – as well as saves it during its spottier moments – is Davis, who gives a performance so good that it cements her as being in the top tier of film actors currently working.”
Annecy International Animated Film Festival Review: Alexander Kronemer’s ‘Lamya’s Poem’
“‘Lamya’s Poem’ is best suited for streaming distribution since the documentarian Kronemer only shows a trying ability to accomplish theatrical flair. Still, a parent viewing the film with children can surrender to its spell and ambition, and forgive its lags.”
Tribeca 2021 Review: Adam Leon’s ‘Italian Studies’
“If ‘Italian Studies’ is indeed a film about mental illness, with Alina suffering from a fugue state, Kirby’s performance is brilliantly subtle, as it never slides into showy grandstanding or Oscar-baiting dramatics.”
Review: Edgar Wright’s ‘The Sparks Brothers’
“Built to impress longtime listeners and new ears alike, Wright’s love letter to Ron and Russell Mael complements the sensibilities of the masterminds behind glories like ‘Kimono My House’ and ‘Angst in My Pants.'”
Review: David Charbonier and Justin Powell’s ‘The Djinn’
“The Djinn’s central performance is a demonically excellent tour de force, and the work’s inclusion of Islamic folklore is a welcome presence in the Christian-dominated sphere of demon-related American horror films.”
Tribeca 2021 Review: Hannah Marks’ ‘Mark, Mary & Some Other People’
“‘Mark, Mary & Some Other People’ ultimately has little to say on the big, unwieldy ethical topics it brings up, but it successfully paints a picture of how cluttered and confused dating continues to be…”
Review: Jon M. Chu’s ‘In the Heights’
“‘In the Heights’ is far from a smooth transition from stage to screen, but the film remains an infectiously charming tale of community, and a far more incisive piece of social commentary than one might expect from the creator of ‘Hamilton.'”
Review: Prano Bailey-Bond’s ‘Censor’
“‘Censor’ is an attention-grabbing debut whose true impact will likely only be felt with each subsequent viewing as the inner workings of the film’s darkest moments become clearer. Absolutely essential.”
Review: Michael Chaves’ ‘The Conjuring: The Devil Made Me Do It’
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
You Must Be THIS OLD to Ride in George A. Romero’s ‘The Amusement Park’
“Romero’s movies have a workshop feel to them, which elevates the horror to a startlingly realistic terror as if it was being documented live.”
Review: Damian Mc Carthy’s ‘Caveat’
“Deeply unsettling and profoundly frightening, ‘Caveat’ is a remarkably assured debut for Mc Carthy and a real showcase for the talents of its small cast, particularly French as the tortured protagonist.”
Theo Anthony’s ‘All Light, Everywhere’ Contemplates the Role of the Camera in Policing
“‘All Light, Everywhere’ succeeds on the basis of Anthony’s editorial choices; the whole is greater than the sum of its parts, which by themselves constitute several chapters or mini-documentaries capable of dropping one’s jaw.”
Review: George A. Romero’s ‘The Amusement Park’
“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”
Review: John Krasinski’s ‘A Quiet Place Part II’
“‘A Quiet Place Part II’ depicts quietness as a strength, and the film’s release shows that the quietness of the past year can be resolved through the mutable, powerful sensibilities of cinema.”
Review: Robert Connolly’s ‘The Dry’
“‘The elements of ‘The Dry’ may be conventional, but the presentation, as well as Connolly’s attunement to very real concerns, still burns.”
Netflix Review: Zack Snyder’s ‘Army of the Dead’
“‘Army of the Dead’ is an algorithmic cleansing exhale in the wake of a whirlwind period in Snyder’s career. As a zombie movie, it’s a shallow, scattershot effort with interesting mythology ideas that don’t really go anywhere…”