“‘Crimes of the Future’ doesn’t offer the same opportunities of mid-2000s highlights like ‘A History of Violence’ and ‘Eastern Promises,’ but Mortensen balances the ridiculous and the sublime like few others.”
“Perhaps David Cronenberg is owed another kind of reputation: that of a humanist filmmaker who observes and questions, who understands our pain and sorrow as well as our ambitions both intellectual and libidinous.”
“‘Good Manners’ isn’t without its share of redeeming factors, to be sure, but Dutra and Rojas are simply hamstrung by their chosen medium, which pits an overabundance of ideas to a constricting runtime.”
“Looking at Cusack’s entire body of work helps one realise that, with age and experience, he has built an increasingly complex and multifaceted persona, playing off his image in order to counter expectations and, probably, to remain excited by his job.”
“In straining to emulate something in the order of a traditional thriller, Katz and his team of long-time collaborators find themselves sliding perilously towards the formulaic.”
“Technology becomes an extension of the individual, queering their body and changing desires.”
“Mortensen uses his body to display his characters’ essential tensions, as they ride the line between truth and lies, loyalty and betrayal, chaos and control.”
“The brooding ominousness Van Maele plays with throughout seems to run through many of this year’s European offerings.”
“‘Indivisible’ is a fantastically imaginative coming-of-age tale, an opera of sweeping creativity and a universal human love story.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“As one finds themselves trapped deeper and deeper into the lives of these poor, unfortunate souls, Bug closes in on you in a curiously suffocating way. It’s disorienting in the best way possible.”
“While Cronenberg’s visuals and Bruce Wagner’s dialogue left me speechless early on, the pacing and tone of the final half inspired a couple face-palms. Even so, Cronenberg has plenty to say with Maps to the Stars, and the film’s best moments are powerful.”
