“Seidl has produced many scenes of lengthy sexual humiliation or nasty perversion, but they are stories of the world that are drawn from the horrible truth of human behaviour.”
“Coppola may generalize in ‘Mainstream,’ but her specifications are plenty insightful and perhaps truthful.”
“Sure, ‘Saint Maud’ can be called a horror film, but it is equally a psychological drama that gets a lot of mileage from a tried and true trope: the shifting power dynamics in a superior/subordinate relationship.”
“For all the activists’ fevered activity, ‘And Tomorrow the Entire World’ completely sidesteps the exploration of political ideas and ideology beyond the simple urge to thump Nazis or argue with racists.”
“While Wright’s stylized execution is impressive, ‘The Woman in the Window’ is a yarn that never fully grabs its audience by the jugular.”
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
“‘Fried Barry’ is busy and overstuffed, but it’s also an incredibly promising and deeply weird reinvention of the body invasion thriller; a strange, disorienting and ultimately rewarding experience.”
“Oxygen’s relevance strikes like lightning in a year when time is measured less by Earth’s tilt and more by first wave, second wave, red phase, yellow phase; not by time passing daily, but by how much danger remains in the room.”
“Ben Sharrock’s entracing new film ‘Limbo’ is a perceptive and earnest work.”
“Rob Garver’s ‘What She Said: The Art of Pauline Kael’ is a worthwhile biography of a fascinating life led with purpose and conviction.”
