“An emotionally existential journey through the cycle of love, Fassbinder’s film conveys an incredible power for empathy, and a profound understanding of deeply human characters.”
“Don Draper is clearly experiencing some type of reawakening, and he can’t jump from a New York City skyscraper if he doesn’t go back. Next week’s episode of Mad Men is titled ‘The Milk and Honey Route’ — a reference to life as a hobo.”
“Filled with sappy moments but fueled by Lively’s classical mojo, The Age of Adaline holds back just enough to capitalize on its magical realism.”
“While Beware of a Holy Whore symbolizes a voice for Fassbinder’s many criticisms of the filmmaking process, he uses aspects of the film to parody his own life and dispositions.”
“An Olivier Assayas film in which an artist reflects on their own creative past in a new light — there must be something in the air at Sils Maria.”
“Far from the Madding Crowd is a uniquely intimate adaptation in its focus on accumulating small moments and emotions to provide spark to its characters.”
“Unlike fairy tales where the prince and princess get married and live ‘happily ever after,’ for many (particularly women), a Game of Thrones union marks the beginning of tragedy.”
“A surrealist bookend to his unofficial gangster trilogy, The American Soldier finds R.W. Fassbinder not only at peace with his version of cinematic grace but more cynically-minded than ever.”
“A complex study of character and mood, Gods of the Plague relies heavily on subtly-crafted and detached scenes to amass larger thematic ideas of isolation, jealousy and love.”
“Basking in drawn-out pauses and uninterrupted tracking shots, Fassbinder strives to make his audience feel a profound discomfort and delights in presenting an errant challenge to his viewers’ integrity.”
“A commanding first directorial effort from Alex Garland, Ex Machina is the product of a perfectly-tuned collaborative endeavor, much like the mind of its artificial centerpiece.”
“The House of Black and White contains natural beauty and rich compositions that rival the best of cinema.”
“From the fluid cinematography of Doug Emmett to Mary Elizabeth Winstead’s obvious transition into an undeniable star, the directorial debut of Chris Messina, Alex of Venice, contains a natural honesty that simply feels right.”
“A Kafka-esque condemnation of Stalin’s government ham-handedly plopped into a John le Carré spy thriller, Child 44 is ambiguous cinematic fluff.”
“Unfriended intelligently explores the act of clicking and how those split-second decisions can change everything.”
“The end is coming for both Mad Men and its anti-hero, and I wouldn’t be surprised if Don’s final breath comes during a heroic moment.”
“A plethora of likable characters and tidy wrap-ups diminish the artistic potential of While We’re Young, as Baumbach doesn’t compromise the film’s abilities as a general crowdpleaser.”
“A deeply impactful film (regardless of length or medium), Hertzfeldt’s World of Tomorrow has a penetrating gift for resplendent empathy — solidifying itself as a shining star of 2015, and one of the finest films of the decade.”
“The beginning of ‘The Wars to Come’ sets the tone for an episode that interlocks present and past while discarding hopeful ideals of a peaceful future.”
“Like a pilfered Fabergé egg, Ryan Gosling’s freshman effort, ‘Lost River,’ is a sight to behold but completely hollow beneath its bejeweled veneer.”