‘Corsage’: Marie Kreutzer and Vicky Krieps Revise History
“It becomes evident that the director’s preoccupation with Elisabeth ‘coming apart’ at the age of 40 is the key component of ‘Corsage’ that transcends time to become a commentary on any era.”
Robert Frank and Free Intuition
“‘Leaving Home, Coming Home’ is a sharp snapshot of a photography titan. All the ingredients! Chaos and clarity, freedom and free intuition.”
‘Poly Styrene: I Am a Cliché’ Considers the Punk Legend from Her Daughter’s Perspective
“‘Poly Styrene: I Am a Cliché’ is not a critical deconstruction of X-Ray Spex’s music, but enough time is spent and enough awesome performance footage is included to send newcomers in search of ‘Germfree Adolescents’ (1978) and more.”
‘The Eternal Daughter’: Another Fantastic Joanna Hogg/Tilda Swinton Collaboration
“‘The Eternal Daughter’ can be viewed independently from the pair of stories starring Swinton’s own daughter Honor Swinton Byrne, but the in-world connections provide an extra layer of enjoyment.”
Drop Around When You Need a Friend: ‘Ronnie’s’
“‘Ronnie’s’ takes me back to my early days in Hollywood, before I had Facebook and an iPhone, before I began forcing experiences and friendships rather than just letting them happen. What a feeling to transcend above what brings you down… to feel at home.”
‘Aftersun’: Charlotte Wells’ Debut Feature Is Among the Best of 2022
“Shimmering like a mirage that retreats and dematerializes the closer one gets, ‘Aftersun’ may just be the best movie of 2022.”
Choose Death: Gregg Araki’s Apocalyptic 90s
“Gregg Araki’s 90s films feel like prophecies of a cataclysm that never happened.”
Singin’ in the Hurricane: Damien Chazelle Takes Us to Wild, Old Hollywood in ‘Babylon’
“‘Babylon’ goes big and refuses to be ignored, even if a much better, much shorter movie exists somewhere inside the messy sprawl.”
Review: Lorcan Finnegan’s ‘Nocebo’
“Lorcan Finnegan’s ‘Nocebo’ works as a companion piece to his previous feature, ‘Vivarium’ (2019), but doesn’t match the overall quality… though it is undeniably one of 2022’s great tickle movies.”
Sequels Don’t Suck: 25 Years Later, ‘Scream 2’ Is More Potent Than Ever
“‘Scream 2’ hints at our future obsession with true crime and the spectacle of pushing victims to relive their trauma over and over (a full two decades before these ideas would become mainstream).”
Review: Elvis Mitchell’s ‘Is That Black Enough for You?!?’
“If you can’t live without the movies, ‘Is That Black Enough for You?!?’ is one of the year’s essential experiences.”
Review: Antoine Fuqua’s ‘Emancipation’
“‘Emancipation’ packs more of a punch than other successful Apple dramas, such as ‘CODA’ and ‘Causeway,’ primarily because of a sharp script by William N. Collage and sensational lead performances by Smith and co-star Ben Foster.”
Interview: ‘Christmas Bloody Christmas’ Filmmaker Joe Begos
‘Christmas Bloody Christmas’ Interview: Joey Keogh discusses the 2022 Shudder movie with filmmaker Joe Begos.
Review: Joe Begos’ ‘Christmas Bloody Christmas’
“‘Christmas Bloody Christmas’ is on a bigger scale than virtually everything else Begos has done to date, with terrific stunts and locations, and it’s heartening to witness his continued growth.”
Shifting Landscapes: Jerzy Skolimowski’s ‘Deep End’ and ‘The Shout’
“Skolimowski imbues his films with his signature iconographic sense of obscurity and mystique; both ‘Deep End’ and ‘The Shout’ grapple with the tensions brought about by characters suddenly entering (and quickly coming to terms with) new environments.”
Conspicuous Consumption: Noah Baumbach Takes on ‘White Noise’
“Admirers of Baumbach will smile at the ways in which ‘White Noise’ embodies his longtime preoccupations and simultaneously points toward bold new possibilities.”
Review: Angela Tucker’s ‘A New Orleans Noel’
“‘A New Orleans Noel’ is one of the year’s best holiday movies.”
A Portrait of the Portrait Artist: Laura Poitras and Nan Goldin Get Together for ‘All the Beauty and the Bloodshed’
“Goldin’s openness and forthrightness extends to her advocacy on behalf of so many others who, like herself, struggled or continue to struggle with opioid addiction.”
Review: Noah Segan’s ‘Blood Relatives’
“‘Blood Relatives’ is constantly in conversation with past vampire works without feeling the need to signpost its references. Segan is confident in the material, both onscreen and off.”
Maria Schrader Dramatizes a Contemporary Reckoning in ‘She Said’
“Condensing, combining and streamlining are expected elements of movie storytelling, but ‘She Said’ works toward a composite that validates as many facts and details as possible within the limitations of the feature film format.”