Review: Alison Ellwood’s ‘The Go-Go’s’
“‘The Go-Go’s’ boasts a treasure chest full of archival content in all shapes and sizes, and the imagery almost always complements the anecdotes told by the subjects with delightful detail.”
Review: Scott Crawford’s ‘CREEM: America’s Only Rock ‘n’ Roll Magazine’
“There was nothing else like ‘CREEM’ back then, and there’s still nothing like it now. That’s not only a testament to the importance of the magazine, it’s also a sad commentary on what’s lacking in modern music criticism.”
Different Places: Jeffrey McHale’s ‘You Don’t Nomi’ Dances with the Legacy of ‘Showgirls’
“I was taken with You Don’t Nomi’s comfortable attitude toward the complexity and ambiguity of a text that can support and sustain such wildly opposite readings.”
Review: Lynne Ramsay’s ‘Brigitte’
“‘Brigitte’ is a slight and sweet addition to Ramsay’s catalogue, and it gently leaves its impressions.”
Review: Claire Oakley’s ‘Make Up’
“When ‘Make Up’ reaches the light at the end of its twisted tunnel, its culmination is gratifying and sumptuously-realised.”
Review: Bong Joon-ho’s ‘Parasite’ (Black and White Edition)
“The black and white edition of ‘Parasite’ is a gift, and the real beacon shining brightly in the dark.”
Review: Dave Franco’s ‘The Rental’
“The ideas present are intriguing, however The Rental’s ultimate staying power is questionable.”
Review: Joko Anwar’s ‘Impetigore’
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
Review: Natalie Erika James’ ‘Relic’
“A haunting study of Grecian prophecies and inherited mental illness, ‘Relic’ makes beasts of the mind.”
A Stirring Tale of Friendship: Kelly Reichardt’s ‘First Cow’
“Behold the elegance and oft-cited aesthetic minimalism with which Reichardt unfolds so many thoughts and ideas about race, representation and gender.”
Review: Aaron Schneider’s ‘Greyhound’
“Greyhound’s inability to venture further into the depths of wartime psychology leaves it susceptible to being forgotten just as quickly as it emerged.”
Review: Natalie Erika James’ ‘Relic’
“James’ arresting, emotional and attention-grabbing film understands that what’s most frightening is barely glimpsed and feels disarmingly normal.”
Review: Jeffrey A. Brown’s ‘The Beach House’
“‘The Beach House’ signals an exciting new star in horror.”
Review: Spike Jonze’s ‘Beastie Boys Story’
“If you listen to Beastie Boys, Jonze’s technique — a familiar blend of rough and smooth, high tech and low tech — comes correct. If you don’t listen to Beastie Boys, the movie serves as a biographical and musical introduction.”
Review: Boaz Yakin’s ‘Aviva’
“Aviva and Eden’s dances — together and apart — mobilize Yakin’s film, and function as bodily mirrors and emotional mirages; gain and loss, self and love.”
Review: Shannon Murphy’s ‘Babyteeth’
“Much of Babyteeth’s vitality can be located in the way each of the central characters is so fully realized.”
Review: Ina Weisse’s ‘The Audition’
“‘The Audition’ considers how we navigate the middle space between power and powerlessness, and Hoss’ performance, whether she’s yearning for affection or responsible for staggering brutality, is the film’s greatest asset.”
Review: Spike Lee’s ‘Da 5 Bloods’
“One of the most effective storytelling strategies in Spike Lee’s ‘Da 5 Bloods’ is the application of the simple and elegant dichotomy.”
Review: Spike Lee’s ‘Da 5 Bloods’ Matters
“As always, Spike Lee asks all the right questions, and it’s up to us to recognize that even though the answers may not be ones we want to hear, we need to grapple with them all the same.”
Review: The Shakespeare Sisters’ ‘Soundtrack to Sixteen’
“The Shakespeare Sisters boldly attempt to capture a young romance, but the film occasionally loses momentum with its loose script and clunky editing.”