“If Midnight Special does well in March, the film will undoubtedly encourage an environment in which middle-class studio releases aren’t such a rarity, because the film world needs more working class heroes like Jeff Nichols.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Not merely a story about the loneliness of a career on the road, Entertainment is the struggle of a man singularly steadfast in his pursuit of his chosen art.”
“Currently being honoured with a retrospective at the RIDM, Andersen’s cool and measured voice emerges as a through-line in his career.”
“My Love, Don’t Cross That River, a documentary about a Korean couple who have been together for 75 years, achieves cinema’s full potential as a medium of poetry.”
“One of the most impressive aspects of Fargo this season has been the show’s ability to digress without ever losing focus.”
“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.”