Review: Mike Flanagan’s ‘Hush’
“‘Hush’ has some very interesting moving parts in what amounts to an average film.”
Tribeca Viewpoints: José Villalobos’ ‘The Charro of Toluquilla’
“‘The Charro of Toluquilla’ is definitely worth seeing, as Jaime is a character that you will not soon forget.”
Review: Jon Favreau’s ‘The Jungle Book’
“The Jungle Book is a fun, brisk and absolutely gorgeous achievement that honors the past while looking unflinchingly into the future.”
Review: Ariel Vromen’s ‘Criminal’
“Regretfully, ‘Criminal’ makes up for its lack of ideas with blood, guts and even more blood.”
Review: Gabriel Mascaro’s ‘Neon Bull’
“Humans and beasts share a primal bond as they occupy the land and the frame together. Mascaro thus internationalizes a strain of the French cinéma du corps as he weds it with the emerging art-house aesthetic of digital realism, crossing borders and species to create something extraordinary.”
Review: Marc Abraham’s ‘I Saw the Light’
“Abraham tells a tragic story but fails to shine a light on the genesis of Hank the man.”
Review: Mickey Keating’s ‘Darling’ (2015)
A Column by Q.V. Hough
Review: Robert Budreau’s ‘Born to Be Blue’
“Budreau is smart enough to illuminate the non-existent divide between the master performer and the man who sticks a needle in his arms, as Baker knows that he needs to stay clean to keep working, but only heroin can numb the pain.”
Review: Alice Winocour’s ‘Disorder’
“It is rare for a film to look objectively at war’s after effects and the violence it instills on its participants, and yet Alice Winocour’s Disorder is not concerned with pity or ferocity.”
Review: Kirk Jones’ ‘My Big Fat Greek Wedding 2’
“MBFGW2 is like going to a Greek restaurant and ordering a sleeve of unsalted saltines.”
Review: Zoe Cassavetes’ ‘Day Out of Days’
“An unquestionably personal work, Day Out of Days exposes the inequity of Hollywood’s interior while highlighting just how important female voices are in telling the story of human existence.”
Review: Gavin Hood’s ‘Eye in the Sky’
“Eventually, Hood can’t avoid the chance to step up to the pulpit and offer a stance. But even as the film orchestrates its grandly emotional and proudly manipulative climax, it means nothing and everything.”
Review: Dan Trachtenberg’s ’10 Cloverfield Lane’
“True to form, the narrative beats of 10 Cloverfield Lane do unspool more than progress, but the difference is that they’re always based in character.”
Review: Kent Jones’ ‘Hitchcock/Truffaut’
“Although it contains very little new material, Hitchcock/Truffaut will undoubtedly find a home within the film education community and could become an important tool in introducing Hitchcock’s immense body of work to hoards of “uninitiated” cinema devotees.”
‘Whiskey Tango Foxtrot’: Empty Empowerment
“It’s not a bad movie, but no matter how long it spends in the war zone, it still feels like a tourist.”
Review: Grímur Hákonarson’s ‘Rams’
“A great director can make us a care for characters wildly outside our realm of understanding, and Grímur Hákonarson may have proven himself such a director with his latest film, Rams.”
Review: Luca Guadagnino’s ‘A Bigger Splash’
“A vivid and lavish feast for the eyes, A Bigger Splash takes an assemblage of indescribably talented actors and puts them in a pressure cooker of sex and vice.”
Glasgow Film Festival Review: Joachim Trier’s ‘Louder Than Bombs’
“Louder Than Bombs may be the first foray into (fully) English-language features for Norwegian director Joachim Trier and his regular screenwriting partner Eskil Vogt, but it absolutely feels like a logical progression of their impressive prior collaboration, the sombre Oslo, August 31st.”
Glasgow Film Festival Review: John Carney’s ‘Sing Street’
“As the saying goes, if it ain’t broke, don’t fix it.”
Review: John Hillcoat’s ‘Triple 9’
“Triple 9 probably won’t go down as one of the great heist films on par with Die Hard or The Italian Job, but it might.”