“Bridgers, like all her millennial contemporaries, contains multitudes as yet unseen. She is living any number of lives all at once — but, at the core of it all, there’s still a vulnerable child of the 90s adrift in a merciless world…”
“Under May’s stare in ‘The Heartbreak Kid,’ and through the provocations of scene partners, Grodin creates a character of rare stature: a horrifying, stone-dumb genius.”
“In my hatred for the Bond franchise, I feel I may have done a disservice to its star. I have always had a tendency to discount Sean Connery as an exquisitely sculpted statue, capable of filling out a tuxedo very nicely but little else.”
Greg Carlson Interviews Brady Daley About Movie Collecting
“One of the great joys in viewing the films amassed under the World Cinema Project banner is discovering the richness of a nation’s cultural and scenic backdrop.”
“As always, Spike Lee asks all the right questions, and it’s up to us to recognize that even though the answers may not be ones we want to hear, we need to grapple with them all the same.”
“Unafraid of what makes her difficult, idiosyncratic or complex, Jehnny Beth ties a bow on this project with an impressive clarity that serves to reinforce her already-established and considerable talents while boldly traversing new, untested, innately personal ground with aplomb.”
“The accumulated effect of ‘Find Me Guilty,’ with its litany of absurdities, is that it is better to deliver the accused from continued subjugation than to maintain faith in a system that has lost all claim to its moral authority.”
“The Shakespeare Sisters boldly attempt to capture a young romance, but the film occasionally loses momentum with its loose script and clunky editing.”
“‘Tommaso’ shows Ferrara taking his career in a new direction, and it’s nice to see someone of his stature still making innovative, daring films.”
Leslie Hatton Interviews ‘After Midnight’ Filmmakers Jeremy Gardner, Christian Stella and Justin Benson
Part Three of a Four-Part Disaster Movie Series by Bill Bria
“Trying to free Wood from the enormous shadow cast by her death is no small feat. ‘Natalie Wood: What Remains Behind’ doesn’t quite manage the task…”
“The verbal gymnastics and musical dynamism on display serve as an exacting call to attention, turning listeners’ eyes and ears onto a reality long disregarded by the privileged.”
“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
“Hammer’s short length may feel like a detriment to some and seem too sparse, with its brevity making for some awkward moments. That said, it’s a refreshing change from the sprawling crime sagas of late…”
“‘Underground’ remains a controversial and wildly ambitious film, one that refuses to be pinned down. It’s a never-ending hall of mirrors that reveals more about the audience than the narrative itself.”
“‘Yourself and Yours’ is a great summer movie, where the over-lit qualities reflect a state of mind more than an exact reality.”
“By the end, ‘Notes on a Conditional Form’ reveals itself to be about very little — too incoherent to justify its length and too scattershot to feel like a unified whole.”
“Moss is nothing short of phenomenal in ‘Shirley,’ filling out her performance with a steady flow of poisonously perfect wisecracks, putdowns and insults…”