Göteborg Film Festival Review: Zaida Bergroth’s ‘Tove’
“‘Tove’ is a tribute to all creatives who pursue their passion projects, and applauds those who are able to break free from bindings.”
Review: Jordan Graham’s ‘Sator’
“‘Sator’ is a slow burn, and the payoff for waiting around will not suit everybody. Like ‘Blair Witch,’ it requires your full attention to really make an impact — half-watching while scrolling through Twitter won’t cut it.”
Considering Reality: Rodney Ascher’s ‘A Glitch in the Matrix’
Greg Carlson Reviews Rodney Ascher’s ‘A Glitch in the Matrix’
Review: Matie Alberdi’s ‘The Mole Agent’
“Only 37 years old, Alberdi is a dynamic figure in documentary studies and practice.”
Sundance Review: Karen Cinorre’s ‘Mayday’
“‘Mayday’ is the filmic equivalent of an answer to a distress call, letting those in need simply know that it’s there.”
Sundance 2021 Review: Pascual Sisto’s ‘John and the Hole’
“‘John and the Hole’ may be too frustratingly vague to really connect, but it seems to challenge its audience from a place of urgency…”
Review: Neil Marshall’s ‘The Reckoning’
“‘The Reckoning’ makes a sharp point about the complicity of women, or more accurately white women, in the destruction of other women.”
IFFR Review: Hung-I Chen and Muni Wei’s ‘As We Like It’
“‘As We Like It’ is a film that makes many unique moments out of its childish buffoonery, and it’s lifted, like its characters, into a class of its own.”
Review: Nora Unkel’s ‘A Nightmare Wakes’
“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.'”
Sundance Review: Rebecca Hall’s ‘Passing’
“‘Passing’ may be too ambiguous an experience for some, yet the way it reveals and conceals at the same time feels not just like a perfect encapsulation of its subject, but also underlines Hall’s emergence as a filmmaker to watch.”
Sundance Review: Ben Wheatley’s ‘In the Earth’
“The most surprising thing about ‘In the Earth’ may be just how much of a return it is to the pitch black humour that characterised Wheatley’s earliest films.”
IFFR Review: Anders Thomas Jensen’s ‘Riders of Justice’
“By the time ‘Riders of Justice’ ramps up its stakes, the final showdown hardly seems to matter as much as the gang’s presence.”
The Birth of Suzuki Action and Style: ‘Youth of the Beast’
“While Suzuki’s overly-stylized and sometimes incomprehensible films ultimately led to his termination from Nikkatsu in 1968, his legacy safely lives on in modern day Japanese cinema…”
Sundance Review: Zoe Lister-Jones and Daryl Wein’s ‘How It Ends’
“While ‘How It Ends’ acts as a cathartic experience for all of us still in the throes of the COVID-19 crisis, its character study will allow it to remain relevant once this pandemic is (hopefully) settled.”
Sundance Review: Jane Schoenbrun’s ‘We’re All Going to the World’s Fair’
“‘We’re All Going to the World’s Fair’ would’ve benefitted from leaning more into the ambiguous lines between documentation and constructed fiction, but it remains a fascinating fiction debut nevertheless.”
Sundance Review: Nattawut Poonpiriya’s ‘One for the Road’
“‘One for the Road’ feels like a filmmaker trying to capture another director’s voice to the extent that they lose their own in the process.”
Catching Fire: The Inscrutable Mayhem of Seijun Suzuki’s ‘Branded to Kill’
“‘Branded to Kill’ doesn’t flow, it staggers — it moves like a dying man, shot through the gut, bleeding out.”
Collecting Movies with Tucker Lucas
Greg Carlson Interviews Fargo Native Tucker Lucas About Movie Collecting
A Brief Symposium of Queer Life at the 2021 London Short Film Festival
Elle Haywood on Queer Cinema at the 2021 London Short Film Festival
Interview: Barely Civil Navigates a Disorienting Year
Andy Witchger Interviews Wisconsin Band Barely Civil