“‘Mark, Mary & Some Other People’ ultimately has little to say on the big, unwieldy ethical topics it brings up, but it successfully paints a picture of how cluttered and confused dating continues to be…”
“‘In the Heights’ is far from a smooth transition from stage to screen, but the film remains an infectiously charming tale of community, and a far more incisive piece of social commentary than one might expect from the creator of ‘Hamilton.'”
“‘Censor’ is an attention-grabbing debut whose true impact will likely only be felt with each subsequent viewing as the inner workings of the film’s darkest moments become clearer. Absolutely essential.”
“Unlike many neo-westerns, which bandy hollow notions of ‘civilization’ that play out on the film’s surface, ‘Let Him Go’ runs a classical plot through a refined image of modern society.”
“In ‘Freeway,’ Vanessa isn’t a girl who has won a battle, but one who has lost a war.”
“Loznitsa’s ‘State Funeral’ is an important reflection on the moving image.”
“‘The Conjuring: The Devil Made Me Do It’ fails to meet its potential as a thoughtful thriller that explores possession on both the supernatural and human front…”
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
Mannhunting #3 by Bill Bria (‘Ali,’ ‘The Insider’ and ‘Collateral’)
“Romero’s movies have a workshop feel to them, which elevates the horror to a startlingly realistic terror as if it was being documented live.”
“Deeply unsettling and profoundly frightening, ‘Caveat’ is a remarkably assured debut for Mc Carthy and a real showcase for the talents of its small cast, particularly French as the tortured protagonist.”
Dipankar Sarkar Interviews ‘Picasso’ Filmmaker Abhijeet Warang
“‘All Light, Everywhere’ succeeds on the basis of Anthony’s editorial choices; the whole is greater than the sum of its parts, which by themselves constitute several chapters or mini-documentaries capable of dropping one’s jaw.”
The Art of the Score #1: Blake Howard on David Mamet’s ‘Heist’
“‘The Amusement Park’ may not be Romero’s angriest film, but it’s one of his most deliberately disturbing…”
“‘A Quiet Place Part II’ depicts quietness as a strength, and the film’s release shows that the quietness of the past year can be resolved through the mutable, powerful sensibilities of cinema.”
“‘The Disciple’ can be highly rewarding if one notices and appreciates its technical brilliance. Criticizing the film for its slow pace and aloof camerawork is akin to labeling classical music as boring and tedious.”
Dipankar Sarkar Interviews ‘Irul’ Filmmaker Naseef Yusuf Izuddin
Greg Carlson Interviews ‘Alright, Alright, Alright’ Author Melissa Maerz About Movie Collecting
“‘The elements of ‘The Dry’ may be conventional, but the presentation, as well as Connolly’s attunement to very real concerns, still burns.”