Las Palmas Film Festival Opens with ‘Katie Says Goodbye’
“Roberts believes in the subtle force of his nice-as-pie protagonist, and he is right: Katie’s light outshines the blue Arizona sky.”
Review: Terrence Malick’s ‘Song to Song’
“‘Song to Song’ finds itself in its vast mercies. It balances tragedies and heartbreaks with life’s many graces.”
True/False 2017 Review: Fan Jian’s ‘Still Tomorrow’
“No matter which storyline is in play, the best thing about ‘Still Tomorrow’ is its subject.”
Review: Onur Tukel’s ‘Catfight’
“What ‘Catfight’ lacks in sanity, it makes up for in the sheer exuberance of Sandra Oh and Anne Heche.”
True/False 2017 Review: Yance Ford’s ‘Strong Island’
“‘Strong Island’ is a vulnerable, affecting documentary that illustrates what systemic racism looks like on a personal level.”
True/False 2017 Review: Kitty Green’s ‘Casting JonBenet’
“The editing is where the story of Casting JonBenet is truly built.”
True/False 2017 Review: Theo Anthony’s ‘Rat Film’
“‘Rat Film’ doesn’t spell out its conclusions, instead allowing the viewer to come to their own upon seeing the images and stories it presents.”
Review: Pema Tseden’s ‘Tharlo’
“Pema Tseden’s all-Tibetan film is a confrontation of old and new, of solitude and togetherness, of dreams and reality.”
IFFR 2017 Review: Sophie Goyette’s ‘Mes nuits feront écho’
“We can’t always get what we want, but ‘Mes nuits feront écho’ shows that, in our dreams, we are in charge.”
IFFR 2017 Review: Pedro Aguilera’s ‘Demonios tus ojos’
“All in all, ‘Demonios tus ojos’ is a movie about the excitement of doing something prohibited.”
Review: Josh Appignanesi and Devorah Baum’s ‘The New Man’
“The director’s own forthrightness is, at once, both refreshing and perplexing.”
IFFR 2017 Review: Kevin Phillips’ ‘Super Dark Times’
“The beauty of ‘Super Dark Times’ can be found in its caring and sensitive vision for the characters’ world.”
IFFR 2017 Review: Elene Naveriani’s ‘I am Truly a Drop of Sun on Earth’
“In this promising debut, there is something beautiful about the resignation that humanity can be found in surprising places.”
IFFR 2017 Review: Marcelo Caetano’s ‘Corpo Elétrico’
“The film is more of a mood piece than a purely narrative feature, one that prefers to focus on the nuances of being different.”
Review: Ester Gould and Reijer Zwaan’s ‘Strike a Pose’
“Recollecting lessons learned is not the same as actual learning.”
Review: Martin Scorsese’s ‘Silence’
“For all its violence and grandiosity, it stands as an impressively filmed indictment against religious persecution.”
RIDM 2016 Review: Atsushi Funahashi’s ‘Raise Your Arms and Twist – Documentary of NMB48’
“Focusing on a group from Osaka rather than Tokyo unveils a more nuanced reality of the industry, offering a look from the outside.”
RIDM 2016 Review: Nele Wohlatz’s ‘El futuro perfecto’
“As we take for granted the ease of our own native tongue, we are perhaps ignoring its full potential.”
Los Cabos IFF Review: Kenneth Lonergan’s ‘Manchester by the Sea’
“‘Manchester by the Sea’ will make your dad cry by showing him how he deals with emotions and the instructional framework through which he learned how to deal with emotions.”
Los Cabos IFF Review: Pablo Larraín’s ‘Jackie’
“Portman’s vivid portrayal is the film’s greatest strength, coasting through woebegone New England accents and the script’s on-the-nose airing of themes in the final act.”