‘It Comes at Night’ and the Trouble with Horror Movies That Don’t Fit Into a Genre-Specific Box
“The new wave, as it is wont to be called, is something to be celebrated, not miscategorised out of ignorance.”
Review: Esteban Crespo’s ‘Amar’
“‘Amar’ is passionate without being pretentious.”
Tribeca Film Festival Review: Tim Golden and Ross McDonnell’s ‘ELIÁN’
“It’s a miracle that Golden and McDonnell were able to create such a coherent document out of what appears to be bureaucratic chaos.”
Tribeca Film Festival Review: Guillaume Canet’s ‘Rock’n Roll’
“Canet’s performance seems to come from a place of real insecurity, and the resulting film plays out like an externalized catharsis.”
Tribeca Film Festival Review: Drew Xanthopoulos’ ‘The Sensitives’
“‘The Sensitives’ is a gentle and affecting window into the isolated prison cell that becomes a sensitive person’s life.”
Tribeca Film Festival Review: Zefrey Throwell and Josephine Decker’s ‘Flames’
“At times, Zefrey and Josephine seem more in love with their own clever filmmaking than they are with each other.”
DIFF 2017 Review: Wong Chun’s ‘Mad World’
“Its megaphone messaging is lost in the noise of its own desperation.”
DIFF 2017 Review: James Gray’s ‘The Lost City of Z’
‘It cannot be understated: ‘The Lost City of Z’ is a revelation.’
DIFF 2017 Review: Feng Xiaogang’s ‘I Am Not Madame Bovary’
“‘I Am Not Madame Bovary’ brilliantly executes its high-concept, formal experimentation perfectly. In doing so, it embodies a vision that harmonizes the theoretical with the actual.”
Las Palmas Film Festival Opens with ‘Katie Says Goodbye’
“Roberts believes in the subtle force of his nice-as-pie protagonist, and he is right: Katie’s light outshines the blue Arizona sky.”
Not Your Trophy: Deer Imagery in Jordan Peele’s ‘Get Out’
“With so much gold mined from one visual element, it’s safe to assume that ‘Get Out’ will continue to entertain and provoke with multiple viewings, making it a valuable addition to any film lover’s collection.”
True/False 2017 Review: Theo Anthony’s ‘Rat Film’
“‘Rat Film’ doesn’t spell out its conclusions, instead allowing the viewer to come to their own upon seeing the images and stories it presents.”
A Woman’s Touch: The Trinity of the Body in ‘American Mary’
“‘American Mary’ is a bizarre masterpiece that examines the body in three forms: as a source of violation, vengeance and, ultimately, tragic downfall.”
IFFR 2017 Review: Pedro Aguilera’s ‘Demonios tus ojos’
“All in all, ‘Demonios tus ojos’ is a movie about the excitement of doing something prohibited.”
IFFR 2017 Review: Kevin Phillips’ ‘Super Dark Times’
“The beauty of ‘Super Dark Times’ can be found in its caring and sensitive vision for the characters’ world.”
IFFR 2017 Review: Marcelo Caetano’s ‘Corpo Elétrico’
“The film is more of a mood piece than a purely narrative feature, one that prefers to focus on the nuances of being different.”
Review: Ester Gould and Reijer Zwaan’s ‘Strike a Pose’
“Recollecting lessons learned is not the same as actual learning.”
Knockin’ on Heaven’s Door: Analyzing Martin Scorsese’s ‘Silence’ as a Remake of His 1967 Debut
“Scorsese’s latest film channels the same intellectual curiosity and spiritual fervor of his directorial debut, with the addition of nearly 50 years of experience in technical skill and storytelling precision.”
Review: Martin Scorsese’s ‘Silence’
“For all its violence and grandiosity, it stands as an impressively filmed indictment against religious persecution.”
CIFF Review: Andrzej Wajda’s ‘Afterimage’
“This portrait of an aging artist engages with and refuses the idea that artistic and social isolation is anything but selfish.”