“‘Bye Bye Love’ is very enjoyable, but its central story is neither as involving or as subversive as it perceives itself to be when leaving the frankness of its bedroom scenes behind.”
“Crane and Shepka’s exploration of the human condition in ‘Dead Before They Wake’ justifies a second watch, though their cinematography could use some work the next time around, in terms of establishing a specific style.”
“‘Blackwater Lane’ suffers mightily from pacing issues, uninspired acting and a flimsy screenplay.”
“Even though ‘Liza: A Truly Terrific Absolutely True Story’ might leave fans wanting more, Klein’s documentary will presumably be the go-to Minnelli doc for years to come, based on the subject’s participation and an interview cast of high-profile names.”
“The narrative truth in ‘Endless Summer Syndrome’ lies in what goes unsaid and what’s just outside the frame.”
“‘The Damned’ is a cerebral film that should be analyzed in film theory courses.”
“I don’t need ‘Dream Team’ to make sense; it’s an art film with relevant sociopolitical themes and accessible humor. But I do want to see technical filmmaking improvements — better editing, better acting — from one movie to the next…”
“‘Get Away’ takes a significant amount of time to set up a payoff that isn’t given the requisite space to breathe once the big moment arrives.”
“Aside from its off-kilter science fiction elements and generational confusion, ‘Going Viral’ is an amusing and playful romp that will remind viewers of everything wonderful about the 1980s.”
“‘Séance’ doesn’t quite match the thrills of the most trendy psychological horror flicks, yet its mature themes will resonate with adult viewers and anyone struggling to move on from the past.”
“By its very nature, ‘Nosferatu’ is a pessimistic story, which might be why the biggest surprise of Eggers’ take is that it’s his most accessible effort to date.”
“‘The Brutalist’ may appear like an inaccessible art picture from the outside, but it moves with an energy that ensures the casual viewer will never be daunted by its epic stature…”
“Whether it’s Holkham Wood or the stone circle at Avebury, British folk horror frequently uses the eeriness of empty, liminal spaces to evoke a sense of psychological unease.”
“‘Me, Myself & the Void’ was clearly made with passion and enthusiasm, but none of Hautekiet’s efforts can stop the mystery from feeling like it’s dragging its heels towards an obvious conclusion…”
“‘Tokyo Uber Blues’ is best when it works as a borderline psychodramatic character study…”
“May was banished at a time when male auteurs were granted an unprecedented amount of latitude. She was treated as a liability rather than a maverick, and it’s difficult not to read that assessment as gendered.”
“‘Il Grido’ is about a man’s utter inability to comprehend the modern world and adapt to it. The end result is a hopeless, pitiful film, and that’s meant as a compliment.”
“‘Booger’ is a surprisingly poignant and sensitive meditation on grief that utilizes a truly wild metaphor.”
“There are moments of richness in ‘The Remarkable Life of Ibelin,’ but they only materialize when Ree allows his tale to be told from the only truly lived-in perspective.”
“With ‘The Becomers,’ Clark frequently barrels all the way to the edge of the line but rarely puts anything more than a toe across it.”