Review: Jafar Panahi’s ‘Taxi’
“A cry against governmental indifference and a cruel restriction from a chosen means of expression, Taxi is a unique work of art that defies boundaries and convention.”
BFI Southbank’s Jean-Luc Godard Retrospective: Highlights from Anna Karina’s ‘Bande à part’ Q&A
BFI Southbank: Anna Karina on Jean-Luc Godard and “Bande à part”
Review: Alessandro Carloni and Jennifer Yuh’s ‘Kung Fu Panda 3’
“The divine spirit of fools run deep within a film too relatively light and inconsequential to have too much staying power, but as an artistically rich Saturday morning puff piece, you could do far worse.”
Lust, Caution: Paul Morrissey’s ‘Women in Revolt’
“‘Women in Revolt’ stands in defiance of the majority of transgender-specific cinema…”
Of Love and Other Demons: ‘The One I Love’ (Charlie McDowell, 2014)
“A fever dream of marital discontent, Charlie McDowell’s ‘The One I Love’ tackles a failing marriage with sci-fi panache.”
Review: Deniz Gamze Ergüven’s ‘Mustang’
“A film full of warmth and dread in equal measure, Mustang serves as a reminder of the power of siblinghood in the face of adversity.”
Review: Tobias Lindholm’s ‘A War’
“More than a simple condemnation of war, of which there are plenty, A War seeks to deliver a thorough examination of human behavior.”
Commanding Leads and Creative Insults in Colin Thompson’s ‘It’s Us’
“Energized by two charismatic leads, It’s Us beautifully explores the process of early 30s decision-making and how one deals with the consequences of questionable actions.”
The Dueling Cavalier: On (Re)-Reading Raymond Chandler for the First Time
“It was my first time reading Chandler, and yet it didn’t feel like it: I’d devoured so many of his influences that the writing seemed familiar, even if there was nothing quite like getting it from the original source.”
‘Whisper of the Heart’ and the Tragedy of Yoshifumi Kondō
“What would the world of animation be like if Yoshifumi Kondō had lived to make another film?”
We Failed This Film: Joe Wright’s ‘Hanna’
“Atonement may always be widely regarded as Wright’s best work, but Hanna is his bravest and most authentic (and should be remembered as such).”
Of Love and Other Demons: ‘Return of the Jedi’ and the Sexy Bikini
“Why can’t Leia be into gold bikinis or even that fantasy of submission?”
Review: Paolo Sorrentino’s ‘Youth’
“Akin to a melody that resonates in your mind in a continual loop of madness and pleasure, Youth is a not-so-easily eradicable experience.”
The Weight of Ratio: Xavier Dolan’s ‘Mommy’ (2015)
“As a filmmaker struggling with her own ideas, it’s a little upsetting to see a man (of the same age) come out with a fully formed idea of his own kind of cinema.”
‘Joy’ Sells You When It Becomes More Streamlined
“In comparing the new film with American Hustle and The Fighter, Russell’s frenetic style succeeds in the previous two through a shifting focus that feels at bit more at home in the context of a sprawling ensemble piece.”
Of Love and Other Demons: ‘The Rose Tattoo’ (Daniel Mann, 1955)
“An incredible failure, ‘The Rose Tattoo’ has value in understanding the confines of the production code and the importance of good direction.”
Eye on Iñárritu: The Misguided Maximalism of ‘Birdman’
“The problem of Birdman isn’t its maximalism, but the direction in which it’s aimed.”
Eye on Iñárritu: ‘Biutiful’ – The Existential Dissonance of a Life in Turmoil
“While Iñárritu’s tactics can become tiresome over multiple views, he is perhaps one of the greatest, single-experience filmmakers working today.”
Eye on Iñárritu: ‘Babel’ or (‘Crash’ with Delusions of Global Grandeur)
“Babel is Crash with delusions of global grandeur; a film that masquerades as a sweeping, humanistic epic, but is instead an ultimately hammy, superficial and miserablist game of connect-the-dots.”
Eye on Iñárritu: With ‘Amores perros,’ Alejandro González Iñárritu Kicked Off a Masterful Career
“Amores Perros clocks in at 150 minutes, yet not a single frame feels unnecessary.”