“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.”
RIDM 2015: “As diversity takes centre stage, In Jackson Heights demonstrates the importance of local governments and organizations in building a healthy community.”
“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.”
“The Wrong Man is, perhaps, Hitchcock’s most authentic film.”
A Column by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“A turn to the past in order to rationalize the present, Brooklyn is a standout example of the forceful, empathetic tempest that cinema is capable of delivering to an audience.”
“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.”
“Like its eponymous character, Justin Kurzel’s adaptation of Macbeth is a film pulled in myriad directions for a sense of purpose.”
Semana Internacional de Cine de Valladolid: Andreea Pătru on the recipient of the 2015 Meeting Point Audience Award.
“I suppose it’s a testament to the quality of The Leftovers that a less than spectacular episode can feel like a letdown.”
“Lenny Abrahamson’s latest film, Room, has an incredibly unique script and one of the best performances of the year. So why is the film just good, and not great?”
“‘Gilda’ is one of the great examples of onscreen masochism.”
Semana Internacional de Cine de Valladolid: Andreea Pătru on Beata Gårdeler’s ‘Flocking” and Tali Shalom-Ezer’s ‘Princess’
“A sharp, claustrophobic study of human relationships, The Lobster puts humanity’s obsession with coupling on full display before it is bloodily dissected and rendered horrifyingly unrecognizable.”
“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.”
Semana Internacional de Cine de Valladolid: Andreea Pătru Interviews Israeli Filmmaker Avishai Sivan
“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.”