“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.”
“It’s not a bad movie, but no matter how long it spends in the war zone, it still feels like a tourist.”
“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.”
“Stephen Chow’s invigorating, irreverent, slapstick, but occasionally serious, comedy The Mermaid is an odd beast to pin down.”
A Jeff Nichols Retrospective by Dylan Moses Griffin
A Series by Angelica Jade Bastién
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“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.”
“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.”
“Breaking the mold and raising his cinematic voice by embedding black intimacy in his movies, Coogler, in Creed and Fruitvale Station, uses mothers, girlfriends, children, squads of friends and Michael B. Jordan to create community.”
A Jeff Nichols Retrospective by Dylan Moses Griffin
“As the saying goes, if it ain’t broke, don’t fix it.”
A Series by Angelica Jade Bastién
A Series by Angelica Jade Bastién
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“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.”
“It’s a touching depiction of a bond between sisters, but it doesn’t really create such a bond with viewers.”
“Kiki is not the documentary that will prompt mass change or acceptance of fringe LGBTQ culture, but it doesn’t have to be.”
“The Witch does for the woods what Jaws did for the ocean. They’re ruined for you.”
“Kate Plays Christine finds itself at the at intersection of reality and performance art, but no matter how fabricated the precursor, the emotional core remains intact and exceptionally powerful.”