“‘The Mysteries of Cinema’ is not really an argument about film’s essential qualities, but a collage of similarities, preoccupations and obsessions that drive not just its filmmakers, but seem to consume the medium itself.”
Joey Keogh Interviews ‘The Mortuary Collection’ Writer-Director Ryan Spindell
“Plenty of double-themed movies have been made over the years, but ‘Ride or Die’ seems like an ideal companion piece to ‘Persona.’ Both films are sexually provocative, and both require multiple viewings to better understand the perspectives of each female protagonist.”
Joey Keogh Interviews ‘The Mortuary Collection’ Actor Clancy Brown
Joey Keogh Interviews ‘Jakob’s Wife’ Director Travis Stevens
Joey Keogh Interviews ‘Jakob’s Wife’ Actress Bonnie Aarons
“Aside from being a furiously feminist film, ‘Jakob’s Wife’ is mordantly funny, gruesomely gory and gloriously unpredictable.”
“Though somewhat imperfect, Pereira dos Santos’ first feature shows promise and is a testament to his ability to portray queer characters with granular subtlety and political meaning.”
“‘Night in Paradise’ isn’t the ideal movie for locked-down streamers, but it’s one that challenges audiences to find silver linings in dark life experiences.”
“‘Bridget Jones’s Diary’ is heartbreaking and life-affirming in equal measure, which is a difficult balance to pull off, particularly in a movie that frequently treats its protagonist quite harshly.”
“‘Kubrick by Kubrick’ has the effect of placing the notoriously particular and media-shy subject in the room with the eager listener/viewer.”
“With ‘This Is a Robbery,’ Barnicle manages to pinpoint what probably happened at the Isabella Stewart Gardner Museum on St. Patty’s Day 1990 while amplifying the long-term mystery.”
VVoices #5: Film Critics List the Best Space Horror Movies
“Roger Ebert once wrote ‘it’s not what a film is about, it’s how it is about it,’ and it’s this phrase that I usually return to when thinking about cinema that deals with humanity’s worst impulses.”
“‘Nina Wu’ isn’t just a ‘#MeToo thriller’ or ‘slow burn cinema,’ it’s a progressive spin on psychological horror and a master class in visceral visual design.”
“End of the Line: The Women of Standing Rock’ belongs to a tradition of activist filmmaking that draws from investigative journalism as well as from artistic principles and techniques.”
“The utter sadness of Little and Big Edie’s story is why ‘Grey Gardens’ is so moving — direct cinema allowed this story to be explored with a level of intimacy previously unavailable.”
“Bargatze delivers a strong one-hour set in ‘The Greatest Average American,’ even if he seems more interested in referencing his family and friends than owning the stage with original bits.”
“‘The Serpent’ fashions itself as a serial killer epic, but feels more like an uninspired Jacques Audiard knockoff that shows little interest in deconstructing the psychology of its subject.”
Mannhunting #1 by Bill Bria: “The protagonists and antagonists in Mann’s films tend to be mirror images of each other, all of them caught within masculinity’s shackles.”