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.”
The Many Peculiar Virtues of Wes Craven’s ‘My Soul to Take’
“As the second last film in one of the great contemporary horror filmmaker’s careers, it’s an extraordinary example of artistic self-reflection and development.”
A Woman’s Touch: The Trinity of the Body in ‘American Mary’
“With ‘American Mary,’ the Soska sisters tell a story that deserves a place alongside the likes of ‘I Spit on Your Grave’ and ‘Hostel’ in its bold but nuanced steps that push forward the genre entire.”
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.”
Biography and Authenticity in the American New Wave
“The lucidity and frankness with which this new wave of filmmakers can dissect their own lives speaks volumes to their talents, boding well for their efforts to come.”
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.”
Moments of Revelation in Martin Scorsese’s ‘Silence’ and ‘Shutter Island’
“What is the cost to oneself of living by a system of belief?”
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.”
Vague Visages Is FilmStruck: Carlos Saura’s ‘Cría cuervos’
“‘Cría cuervos’ is a film preoccupied with death. It surrounds Ana and obsesses her. Starting with its sobering preamble, the picture is inundated by threatening (and tempting) mortality.”
Mike Birbiglia’s ‘Don’t Think Twice’: The Anti-‘La La Land’
“Where Los Angeles offers an idyllic vision of dreamers, New York can’t help but set the stage for an all too depressing look at those left behind.”
The Serious Camp of Natalie Portman
“Reviews may be breathlessly overusing the ready-made formulation of ‘Natalie Portman IS Jackie,’ but they really should be following Sontag’s lead: Natalie Portman IS ‘Jackie.'”
In ‘Moonlight,’ Black Is the Warmest Color
“Not only does it feel true to its origins, but it also speaks to viewers from different parts of the world.”
Sparkling Romances and Sweet Facades: Damien Chazelle’s ‘La La Land’
“Might I put it out into the ether that a ‘weak link’ doesn’t exist in ‘La La Land’.”
Made Like Welles: Denzel Washington’s ‘Fences’
“In my mind, ‘Fences’ and Denzel’s work is comparable to the best of Orson Welles.”
Kiss Me Deadly: Sex and Gender in ‘Liquid Sky’
“‘Liquid Sky’ seems more relevant than ever.”
Redemptive Criminality in David Mackenzie’s ‘Hell or High Water’
“The grey hue of ‘Hell or High Water’ becomes more distinguishable when juxtaposed to films with plots that are more clearly black or white.”
Review: Ester Gould and Reijer Zwaan’s ‘Strike a Pose’
“Recollecting lessons learned is not the same as actual learning.”
Casting a Spell for Peace: On ‘Arrival,’ Max Richter and Our Unending Need for Violence
“It’s in Louise’s absolute refusal to allow our barbaric side to win that ‘Arrival’ shows its moral core.”