Review: Jason Moore’s ‘Sisters’
“Sisters is a house party film told by and from the perspective of women, and that is precisely why it succeeds.”
“Sisters is a house party film told by and from the perspective of women, and that is precisely why it succeeds.”
“For all its frenetic editing, energetic performances and twisty narrative structure, there is sadly an elephant in the room, and that’s the film’s treatment (or mistreatment) of women.”
Jaime Grijalba, a Chilean writer, comments on the exploitation of his country’s cinematic landscape.
“Featuring a standout performance from Agyness Dean and some of the best landscape photography since Mr. Turner, Sunset Song strikes a balance between toil and ecstasy that is at once overwhelming and completely uplifting.”
“Like the film, as much as Fargo looks like it’s set in our universe, dashes of the absurd emphasize that the series works under its own logic.”
Lust, Caution is a bi-monthly series of essays that examines films within the label of “queer cinema.”
“If this is the last hour we spend watching The Leftovers, then “I Live Here Now” is certainly a historic one that successfully doubles as both a season finale and a series finale.”
“Radiator never actually “deals” with any of the lofty existentialisms it digs up, firmly positing that they should remain the unknowable, unthinkable aspects of life.”
“Throughout Season Two, Fargo has maintained an impeccable balance between comedy and tragedy.”
“The otherworldly has always existed on the peripheries in The Leftovers, but in “International Assassin,” the physical world and the surreal world truly collide.”
“A triumphant end for a series often mocked by critics for its narrative simplicity and “Young Adult” classification, Mockingjay – Part 2 is the finale that fans deserve. “
“One of the most impressive aspects of Fargo this season has been the show’s ability to digress without ever losing focus.”
“As premature as it might be to say in a review for an initial theatrical run, Carol more than earns the right of comparison to Brief Encounter in terms of quality. Frankly, it’s one of the new great romantic films.”
“On Lost, cliffhanger endings were simply a part of the storytelling structure. For The Leftovers, “A Most Powerful Adversary” is perhaps the episode that bares the most striking resemblance to Lost given the dooming conclusion.”
“Despite Guggenheim’s asymmetrical approach, Malala’s unquestionable bravery and youthful idealism shine through.”
“The voice of a fictional Ronald Reagan (played with a perfect mix of jocularity and sincerity by Bruce Campbell) looms over ‘The Gift of the Magi,’ setting a tone in the first act that never wanes throughout the episode.”
“I suppose it’s a testament to the quality of The Leftovers that a less than spectacular episode can feel like a letdown.”
“In Noah Hawley’s show inspired by the Coen brothers’ work, a high body count and a willingness to laugh at it have been no less a part of the universe, in some ways serving as the most direct connection between the series and the film.”
“With The Leftovers being a show about faith and hope, and the desperation in holding onto such ideals, Matt deems Mary’s relapse into a comatose state as a test of his faith.”
“Regardless of what comes next for our beloved spy, let us never again speak of (or be subjected to) that opening montage with the trashy, tentacle-porn horror show.”