“Its vibrating self-awareness, unwieldy traveling circus vibe and mind-bending movie-within-a-movie duality allow Welles to simultaneously mock and indulge in the critically celebrated, sexually-charged, Antonioni-style, European art film.”
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
“With ‘The Tale,’ Jennifer Fox addresses a painful subject in a straightforward and clear-eyed manner.”
“In a way, the Coens complete the arc of the film, tying it together cohesively, by suggesting that the arc is random, sometimes cruel, and sometimes meaningless.”
“Fargeat is almost saying, ‘well, if you want to look at her, you must look at her no matter her condition.’ It is a grotesque way of calling out the male gaze, but it is an effective one.”
“Anchored by a deeply sympathetic performance from Aparicio, ‘Roma’ is an empathetic, sentimental, stirring delight.”
“‘The Most Assassinated Woman in the World’ is not, by my estimation, a horror film, but a film about horror spectatorship; the joy of discomfort.”
“‘The Legacy of a Whitetail Deer Hunter’ lacks ‘true grit.’ It’s designed to feel relatable, yet Brolin’s impassioned performance can only do so much to override the stock dialogue and the narrative’s lack of originality.”
“As a showcase for two actors who more than deserve their moment to shine, ‘Set It Up’ is hugely satisfying. As a modern romantic comedy, it’s glorious.”
“‘Revenge’ is not quietly revolutionary. It makes its message quite clear. Loud, brash, neon-colored and shot like a music video, the flick is unabashedly cool.”
“Finally facing the ghost actually releases the tension. And so, it is only by facing a trauma like the Holocaust that future generations can begin to relieve its effects.”