The Moreau Files: ‘Elevator to the Gallows’
“A feeling of powerlessness is no doubt at the heart of Moreau’s possessed performance in ‘Elevator to the Gallows.'”
Review: David Cronenberg’s ‘Maps to the Stars’
“While Cronenberg’s visuals and Bruce Wagner’s dialogue left me speechless early on, the pacing and tone of the final half inspired a couple face-palms. Even so, Cronenberg has plenty to say with Maps to the Stars, and the film’s best moments are powerful.”
The Moreau Files: ‘Diary of a Chambermaid’
“A sex comedy rooted in inequality, ‘Diary of a Chambermaid’ trades in traditional ideas about power dynamics for a twisted take on the absurdity of desire.”
The Moreau Files: ‘La Notte’
“‘La Notte’ is a film very much about resignation — resigning to the fate of the monogamy and perhaps the inevitability of death.”
Fargo Film Festival Review: David Zellner’s ‘Kumiko, the Treasure Hunter’
“Heart-warming and often hilarious, ‘Kumiko the Treasure Hunter’ reminds that individuality may take one a long way given the right conditions. Chase your treasures with confidence and be prepared.”
The Moreau Files: ‘Jules and Jim’
“In the male dominated world of the French New Wave, Catherine in François Truffaut’s ‘Jules and Jim’ stands out as a mysterious and particularly beguiling female presence.”
Review: François Delisle’s ‘Chorus’
“Almost violently textured, ‘Chorus’ evokes the works of Ingmar Bergman as it contrasts the spiritual qualities of the mind and the body.”
Fargo Film Festival Review: David Robert Mitchell’s ‘It Follows’
“By excluding grown ups from the narrative, ‘It Follows’ highlights the perseverance of young adults and their reliance on each other for a shared vision.”
Fargo Film Festival Review: Aaron and Austin Keeling’s ‘The House on Pine Street’
“Incredibly polished and finely acted, ‘The House on Pine Street’ will surely become a hit on the film festival circuit.”
Fargo Film Festival Review: Jesse Moss’ ‘The Overnighters’
“Moss highlights the personal struggles of many who find themselves re-awakened in northwestern North Dakota, and others who simply fade in and fade out.”
Concealed Fury: Hélier Cisterne’s ‘Vandal’
“Cisterne poses important questions about adolescent identity and touches on the blossoming of artistic expression in ‘Vandal,’ but the concealed fury of each character ultimately remains an enigma (along with their understanding of the real world).”
Truffaut with a Shade of Demy: Axelle Ropert’s ‘Miss and the Doctors’
“‘Miss and the Doctors’ reminds of François Truffaut with a shade of Demy; ‘Jules et Jim’ holding ‘The Umbrellas of Cherbourg.'”
Review: Mélanie Laurent’s ‘Breathe’
“‘Breathe’ works on various levels thanks to Arnaud Potier’s cinematography, Laurent’s polished direction and the magnetic charisma of the leads.”
A Reluctant Hunter: Jean-Bernard Marlin’s ‘La fugue’
“Bencherif exudes that rare type of charisma one can’t teach.”
The Film Jeff Nichols Should Have Made: ‘The World Made Straight’
“‘The World Made Straight’ is essentially a poor man’s ‘Out of the Furnace’… Still, it’s a memorable spotlight for the always-mesmerizing Minka Kelly.”
Just Let it Flow: The Awkward Transitions of ‘Jimi: All Is by My Side’
“A Hendrix biopic can be tackled in a variety of ways, but a director should either commit to gonzo audio/visual techniques or simply let the performances take over.”
Remembering Francesco Rosi (November 15, 1922 – January 10, 2015)
Q.V. Hough on the Influence of Francesco Rosi
Broken Embraces and Unforgettable Form: Paul Thomas Anderson’s ‘Inherent Vice’
“Joaquin Phoenix delivers yet another iconic performance in ‘Inherent Vice’ and has now become one the most charismatic actors of the last 20 years.”
A Poetic Absence of Presence: Sydney Pollack’s ‘The Yakuza’ (1974)
“The interactions between Mitchum and Takakura offer a jolting look at man’s acceptance of grief, but the technical aspects of The Yakuza transform the film to a higher level.”
An Attractive Fraction: Tim Burton’s ‘Big Eyes’
“‘Big Eyes’ could have become an Oscar contender with more focus on Adams in the final act, rather than a shift towards the public bravado of Waltz’s Walter Keane.”