Glasgow Film Festival Review: Min-Ho Woo’s ‘The Man Standing Next’
“Both emotionally and narratively, ‘The Man Standing Next’ is an easy story to get lost in.”
‘Raya and the Last Dragon’ Review: A Fable Vibrating with Imagination and Optimism
“‘Raya and the Last Dragon’ welcomes a reflection on its Asian-fusion design because western adaptations of Asian culture, even with visible and vocal creative Asian input, will come with a spectrum of orientalism…”
Glasgow Film Festival Review: Frederick Wiseman’s ‘City Hall’
“‘Reality fiction’ contours everything in ‘City Hall,’ from the microscopic level of scene transitions to the macroscopic level of entire sequences given deliberate framings…”
Glasgow Film Festival Review: Eui-Jeong Hong’s ‘Voice of Silence’
“Rather than using the violence itself as a punchline, ‘Voice of Silence’ builds a comedy of manners out of Chang-bok and his colleagues’ sensibilities.”
Review: Jill Li’s ‘Lost Course’
“The most powerful aspect of ‘Lost Course’ is how it portrays the struggle of the Wukan citizens as a general metaphor for political corruption and the futility of activism.”
Glasgow Film Festival Review: Lili Horvát’s ‘Preparations to Be Together for an Unknown Period of Time’
“It’s a delight to watch Stork think in ‘Preparations to Be Together for an Unknown Period of Time.’ Her cogitations are signaled by the darting actions of her piercing blue eyes, the slight flex of an eyebrow or the raising of a subtle and pursed smirk.”
Netflix Review: Barry Avrich’s ‘Made You Look: A True Story About Fake Art’
“When viewed as a character study, ‘Made You Look’ is the rare art documentary that has a re-watchable quality.”
Glasgow Film Festival Review: Kevin Macdonald’s ‘The Mauritanian’
“The foregrounding of Mohamedou’s experiences and perspective — and, by extension, all those subjected to Guantánamo’s purpose — is the fuel in The Mauritanian’s engine.”
Fargo Film Festival Review: Sabrina Doyle’s ‘Lorelei’
“Good onscreen chemistry between Jena Malone and Pablo Schreiber lifts the filmmaker’s debut feature out of traps set by occasionally mundane dialogue and predictable complications.”
Review: John Swab’s ‘Body Brokers’
“Swab’s personal experience bleeds into every frame of ‘Body Brokers,’ making it a taxing watch at times, but its true power lies in the details…”
Review: Ben Hozie’s ‘PVT Chat’
“In ‘PVT Chat,’ the half-baked attempts to create thematic through lines and symbolism prove to be the greatest flaws.”
Review: Predrag Antonijevic’s ‘Dara of Jasenovac’
“Given that ‘Dara of Jasenovac’ is the first Serbian film to cover the camps, the implicit didacticism would actually be more welcomed if it did its job and taught viewers something.”
Review: Iara Lee’s ‘Stalking Chernobyl: Exploration After Apocalypse’
“Despite Stalking Chernobyl’s clear position on the dangers of expanding nuclear power, Lee does not shrink from the otherworldly allure that draws so many to Chernobyl and Pripyat.”
Review: Rose Glass’ ‘Saint Maud’
“‘Saint Maud’ proves, once again, that horror, and particularly indie horror, provides the opportunity for first timers to take real risks.”
Sundance Review: Jakub Piatek’s ‘Prime Time’
“‘Prime Time’ is at its most energetic and engaging during the early scenes; a setup familiar enough for any viewer of Sidney Lumet’s ‘Dog Day Afternoon’ or the many films he inspired.”
Sundance Review: Robin Wright’s ‘Land’
“‘Land’ is positioned as an exploration of grief and survivor’s guilt — a crowded celluloid space – but the lack of distinctive figures renders Wright’s film picturesque but fallow.”
Göteborg Film Festival Review: Zaida Bergroth’s ‘Tove’
“‘Tove’ is a tribute to all creatives who pursue their passion projects, and applauds those who are able to break free from bindings.”
Review: Jordan Graham’s ‘Sator’
“‘Sator’ is a slow burn, and the payoff for waiting around will not suit everybody. Like ‘Blair Witch,’ it requires your full attention to really make an impact — half-watching while scrolling through Twitter won’t cut it.”
Considering Reality: Rodney Ascher’s ‘A Glitch in the Matrix’
Greg Carlson Reviews Rodney Ascher’s ‘A Glitch in the Matrix’
Review: Matie Alberdi’s ‘The Mole Agent’
“Only 37 years old, Alberdi is a dynamic figure in documentary studies and practice.”