“As the debate rages on about whether strong female characters in movies should evoke admiration through heroism or just be flawed, human and sometimes downright unlikeable, it’s nice to see that Brea Grant created a film that’s full of different women.”
“‘Dinner in America’ is a special movie with a genuinely punk rock feel and a charmingly odd couple at its heart. There are enough laughs and swoon-worthy moments to mark it out as the best, and weirdest, rom-com in years.”
“‘Joe Versus the Volcano’ is as thoughtful and sensitive as it is goofy. It brims with the sort of amazement that can reawaken forgotten feelings, and resuscitate a heart clogged by ennui.”
“If Ferris Bueller and his day off resemble something else universal, it is liberation. In the context of the journey, this is best understood as the ability to be in transit.”
“As a character study, Miloš Forman’s feature directorial debut presents a realistic vision of a boy’s attempt to come of age; a path full of setbacks without a tidy resolution.”
“‘The Night Is Short, Walk on Girl’ feels like an inadvertent political statement, a continuation of the status quo in the romantic comedy genre. Still, there is something there.”
“In cinema, it’s tough to depict sincerity without it coming across as contrived or sickly-sweet, but it’s a feeling that myself and many others yearn for, especially when it comes together as beautifully as it does in ‘But I’m a Cheerleader.'”
“Under May’s stare in ‘The Heartbreak Kid,’ and through the provocations of scene partners, Grodin creates a character of rare stature: a horrifying, stone-dumb genius.”
“The accumulated effect of ‘Find Me Guilty,’ with its litany of absurdities, is that it is better to deliver the accused from continued subjugation than to maintain faith in a system that has lost all claim to its moral authority.”
“The Shakespeare Sisters boldly attempt to capture a young romance, but the film occasionally loses momentum with its loose script and clunky editing.”
“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
“Filled with powerful female-led moments, laid on the backdrop of the Icelandic countryside, Hákonarson’s crowd-pleasing humanist creation strengthens Iceland’s reputation within the international film circuit.”