Fantasia Fest Review: Paul Andrew Williams’ ‘Bull’
“Williams’ reliance on violence doesn’t transgress in ‘Bull,’ it merely toes the line. Imagine what he could do if he really let himself go.”
“Williams’ reliance on violence doesn’t transgress in ‘Bull,’ it merely toes the line. Imagine what he could do if he really let himself go.”
“‘It’s a Summer Film!’ has a genuine emotional core, which layers each wild twist into another heartrending moment.”
“Johnson doesn’t create a specific sense of place in ‘The Carnivores,’ nor does he develop the characters into anything more than cyphers for American angst that a million Sundance films have delivered before.”
“The conspiratorial is everywhere in ‘Slow Machine’ but doesn’t come into focus.”
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
“If ‘Gauguin’ and ‘Guernica’ shine a light on their respective subjects, they also present a key part of Resnais’ own development as an artist.”
“‘Shoplifters of the World’ seems more affectionate to 2000s conceptions of 1980s nostalgia than to the thing itself.”
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“Where Pier Paolo Pasolini pushed the obscenity of fascism to levels that go beyond cinema, to something further back into the subconscious history of art and complicity in aesthetics of evil, ‘Dara of Jasenovac’ merely rubs the audience’s noses in misery.”
“The gender-fluid quality of ‘As We Like It’ fits with a future digital landscape that moves beyond binaries, and also with Shakespeare’s own casual approach to the ‘Men Are from Mars, Women Are from Venus’ comedy sub-genre.”
“The art of the hangout movie lives…”
“‘A Colt Is My Passport’ represents a supreme tension between American and Japanese Noir, and asks questions about the past and future of international cinema.”
“‘No Man’s Land,’ Conor Allyn’s earthy effort at a serious revisionist western, is a film of good intentions that goes awry when it attempts to unpack any of its ideas.”
“The total dominance of our digital cinema platforms has forced cinephiles to reckon with their own assumptions and understanding of the medium.”
“It’s the sardonic, versatile Plaza performance that saves Levine’s ‘Black Bear.'”
“‘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.”
“‘Freaky’ is uneven, but it has moments of magic.”
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”