London Film Festival Review: Maria Schrader’s ‘She Said’
“It is hard to partake in the self-congratulatory tone of She Said’s conclusion.”
Review: David Gordon Green’s ‘Halloween Ends’
“‘Halloween Ends’ succeeds or fails on the strength of Campbell’s performance, and the young, relatively new performer is a revelation.”
Brett Morgen Keeps His ‘Lectric Eye on the Iconic David Bowie in ‘Moonage Daydream’
“‘Moonage Daydream’ is committed to art and artist. With few exceptions, like the acknowledgement of Bowie’s love for Iman, private life stays private.”
London Film Festival Review: Mia Hansen-Løve’s ‘One Fine Morning’
“‘One Fine Morning’ is an exercise in comparatively calm, delicate cinema. It balances serenity with pathos and never strays from realism, in contradistinction to Hansen-Løve’s previous film — the highly metafictional, altogether more playful ‘Bergman Island.'”
How to Cannonball an Aquarium
“‘Tales from the Gimli Hospital’ is an accessible and logical entry point for Maddin-curious cinephiles.”
‘Nothing Compares’: Kathryn Ferguson Covers Sinéad O’Connor in Strong Music Doc
“Ferguson applies remarkable editorial skill to make judicious choices regarding what to keep in ‘Nothing Compares’ and what to omit.”
London Film Festival Review: Georgia Oakley’s ‘Blue Jean’
“Oakley constructs a landscape in ‘Blue Jean’ that responds to the cruelty of real society with a stark generosity. As a result, the audience is invited to sympathize with as many characters as possible.”
On ‘The Jeffrey Dahmer Tapes,’ ‘Blonde’ and Fatalist Netflix Filmmaking
“A fatalist flick like ‘Blonde’ — which, importantly, is not a biopic — and serial killer documentaries like ‘The Jeffrey Dahmer Tapes’ can at once be exploitative and insightful. Both things can be true.”
Review: Joseph and Vanessa Winter’s ‘Deadstream’
“‘Deadstream’ is an inventive, unpredictable and hugely charming found footage horror film, but it’s also a clever indictment of internet culture with a gripping, vanity-free lead performance from its co-writer/director.”
The Irresistible Bulldozer: Judy Holliday’s Brief Comic Swing
“Holliday’s persona is one of shrewdness in the face of unrelenting condescension; she perfected the art of playing the outwardly ditzy blonde who lulls those around her into taking her lightly.”
Review: Gina Prince-Bythewood’s ‘The Woman King’
“In an instant, it is plain to see that Davis is superior to her material.”
Review: Margarethe von Trotta’s ‘Searching for Ingmar Bergman’
“‘Searching for Ingmar Bergman’ is one of the better documentaries about a legendary filmmaker.”
‘Blonde’ Review: A Dostoevskian Innocent Challenges the Hollywood Machine
“‘Blonde’ will entertain open-minded cinephiles who enjoy being dominated by bold and ambitious filmmaking.”
Review: Olivia Wilde’s ‘Don’t Worry Darling’
“‘Don’t Worry Darling’ is neither a masterpiece nor a failure (I prefer Wilde’s warmer ‘Booksmart’), but it has definitely made the shortlist as one of the year’s most talked-about films.”
TIFF Review: Cristian Mungiu’s ‘R.M.N.’
“The bleak and restless nature of ‘R.M.N.’ is manifest in Tudor Vladimir Panduru’s cinematography.”
‘Anonymous Club’: A Gift from the Rock Gods
“Cohen poignantly investigates the anxieties of an untraditional rocker who is expected to fulfill traditional industry duties.”
TIFF Review: Darren Aronofsky’s ‘The Whale’
“Fraser keeps Charlie’s fully formed humanity at the forefront of ‘The Whale,’ despite various filmmaking decisions that could flatten his character into a saccharine pity case.”
Making Sense of the Bullocks: Examining the Punk Unpleasantries of ‘Pistol’ and ‘Sid and Nancy’
“FX’s ‘Pistol’ stays true to the chaotic nature of the Sex Pistols and manages to sprinkle in some of that Boyle pop energy.”
Review: Agnieszka Smoczynska’s ‘The Silent Twins’
“‘The Silent Twins’ plugs away without the urgency or rising stakes that would invite viewers to identify with the special world inhabited by the female protagonists.”
Make Your Own Kind of Music (Even If Nobody Else Sings Along)
“‘Do Revenge’ may not appeal to 40-somethings who grew up with ‘Reality Bites’ or ‘American Pie,’ but the character dynamics will indeed resonate with younger moviegoers who care more about individualism and transparency than reductive identity politics.”