Album Review: The Avalanches ‘We Will Always Love You’
“Despite confronting our planet’s mortality, ‘We Will Always Love You’ is far from an expression of mourning. Rather, it’s a celebration of the cosmic afterlife afforded to us by music.”
Review: Thomas Vinterberg’s ‘Another Round’
“‘Another Round’ is a high-concept character piece that dips its toes into national themes, but never long enough to put off the international market it’s clearly geared towards.”
Review: Deepa Mehta’s ‘Funny Boy’
“‘Funny Boy’ may seem groundbreaking on paper, but there’s nothing particularly original about this overly familiar and largely reductive adaptation of an acclaimed novel.”
Celebrating Small Moments in ‘Chungking Express’
“The small character gestures in ‘Chungking Express’ give the film its soul, but the spark comes from the act of being seen at all.”
Review: Mickey Reece’s ‘Climate of the Hunter’
“‘Climate of the Hunter’ is eager to cultivate a sense of unease, but Reece isn’t invested in doing anything with it.”
Review: Robert Machoian’s ‘The Killing of Two Lovers’
“How wonderful it is to watch a film in 2020 that displays style and true enthusiasm for the art of movie-making.”
Review: Patrick Picard’s ‘The Bloodhound’
“There’s a timelessness to ‘The Bloodhound’ that puts it on a par with recent and similarly quietly-horrific offerings like ‘It Follows’ and ‘Piercing’…”
Review: Christopher Landon’s ‘Freaky’
“‘Freaky’ is uneven, but it has moments of magic.”
From Underground Jazz Clubs to Breaching Hollywood: Krzysztof Komeda and the Polish Sound
“Krzysztof Komeda made sure that the films he scored would be unlikely to exist, with any real significance, without his response to the images he was provided.”
Review: Justin G. Dyck’s ‘Anything for Jackson’
“‘Anything for Jackson’ is a perfect example of wasted potential, as the film contains some solid elements that Dyck fails to build upon.”