“Whereas many Netflix acts are so clearly designed to address cultural topics A, B, and C — whether it’s politics, social media, or celebrity culture — Regan riffs away with evergreen observational humor that gives ‘On the Rocks’ a timeless quality…”
“Making a gothic horror story about the creation of a gothic horror story is a worthy and potentially enlightening idea, but Unkel fumbles the ball at every turn with ‘A Nightmare Wakes.'”
Dipankar Sarkar Interviews ‘Kaali Khuhi’ Director Terrie Samundra
“‘Anything for Jackson’ is a perfect example of wasted potential, as the film contains some solid elements that Dyck fails to build upon.”
“‘Mank’ probably spends more time than necessary defining the protagonist’s own crisis of conscience within a corrupt and decaying dream factory.”
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”
“There’s a lot to admire about ‘Pieces of a Woman,’ but Mundruczó’s film loses its way as it continues to untether itself from the opening’s grounded realism.”
“‘Rebecca’ feels sanded out, erased of all imperfection, identity and mystery.”
Dipankar Sarkar Interviews ‘Dolly Kitty & Those Twinkling Stars’ Filmmaker Alankrita Shrivastava
Dipankar Sarkar Interviews ‘Class of ’83’ Director Atul Sabharwal
“Spindell pays homage to many horror productions, yet his film is its own uniquely strange, inventive, entertaining and frequently frightening little monster.”
Dipankar Sarkar Interviews ‘Raat Akeli Hai’ Screenwriter Smita Singh
“Johnson brilliantly arranges and organizes the vignettes that account for her unique ‘living obituary.'”
“Point of view and selfhood have assumed for Kaufman a place of great consequence from ‘Being John Malkovich’ to ‘Eternal Sunshine of the Spotless Mind’ to ‘Anomalisa,’ and ‘I’m Thinking of Ending Things’ is a remarkable extension.”
“‘Lucky’ is a rallying cry for women everywhere to fight back, to keep speaking up and to go it alone when all else fails.”
Dipankar Sarkar Interviews ‘Choked’ Screenwriter Nihit Brave
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
“Greyhound’s inability to venture further into the depths of wartime psychology leaves it susceptible to being forgotten just as quickly as it emerged.”
“‘The Beach House’ signals an exciting new star in horror.”
“One of the most effective storytelling strategies in Spike Lee’s ‘Da 5 Bloods’ is the application of the simple and elegant dichotomy.”