“As much as ‘Hoop Dreams’ concerns the sports-centric plight of William and Arthur, it is perhaps even more significantly an illustrative case study of what perpetually imperils men (and women) of a certain social, economic and racial constitution.”
“‘Quién te cantará’ is a cold, mournful study of mothers and daughters living despite each other, filtered through a mystery with a popstar shaped hole at its centre.”
“This film will undoubtedly become a key text for critical essays and university studies on post-referendum British cinema…”
“Gaga’s mere presence in ‘A Star Is Born’ allows Cooper a wide berth to go big with scenes and moments that play with and embrace camp.”
“‘Halloween’ might be funny, but it’s also the nastiest, most violent entry in the series yet.”
“‘Cam’ is an uncomfortable watch, despite its absolutely dazzling visuals and outstanding production design.”
“Few actors are truly cross-generational in the manner media outlets make them out to be. Robert Redford, however, has earned this distinction.”
“Given what we now know about Weinstein’s welding of harassment, assault and power to control the women in his professional orbit, it’s uncanny that a seemingly frivolous film about a girls boarding school could share such parallels with the #MeToo movement.”
“‘First Man’ expresses no interest in probing the complexities of space race mythologizing…”
“Denis’ approach resembles that of Pattinson’s performance: pointedly pared down to the bare minimum without fully untethering from recognizable humanity.”
Ella Kemp Interviews ‘The New Man’ Filmmakers/Subjects Devorah Baum and Josh Appignanesi
“Despite its salacious subject matter — sexuality, infidelity and voyeurism — the movie contains shockingly few sex scenes, but still remains erotically charged nearly 30 years later.”
“Goddard delineates his film from its influences by focusing almost exclusively on character. Rather than a story filled with twists and turns and manipulation of the audience, ‘Bad Times at the El Royale’ presents each character’s story as a solo vignette, before tying it into the overarching drama.”
“The overcorrection for sentimentality does give ‘Wildlife’ a bit of a sterile feel, but the deliberate dissatisfaction that Dano allows to permeate through his debut feature provides a fitting complement to the private misery of the film’s characters.”
“It’s a confusing enterprise all around, but — at the very least — ‘Female Human Animal’ is unlike anything else out there, for better or worse.”
“The quickening tempo of non-diegetic, alienating sounds should not be simply viewed as part of a film score, but as an access point into the fear-induced perspectives of the victims within this film world.”
“Movies aren’t proverbs — their morals are questionable, their questions are impossible to answer. This is the case for good films, at least.”
“Ultimately, it seems that the film’s pleasant and inoffensive affect is exactly what Roth intends. The work is unassuming, competently handled and ably colored within its established lines. It aims clearly and unwaveringly to please a young target audience.”
“Fargeat is almost saying, ‘well, if you want to look at her, you must look at her no matter her condition.’ It is a grotesque way of calling out the male gaze, but it is an effective one.”
“Jodorowsky’s film is a potpourri of consecrated iconography and symbolism, providing ‘El Topo’ a breadth of sacred resonance and no doubt augmenting its potential for provocation and interpretation.”