The Unforgiving Concrete: Lodge Kerrigan’s Cinema of Estrangement
“In Lodge Kerrigan’s first three features, he asks audiences to consider those left in the wake of his central characters…”
Short Film Review: Chloé Groussard and Julie Pacheco’s ‘Manucure 24/24’
“‘Manucure 24/24’ betrays the formula of so many short film productions, as the filmmakers fully embrace the task at hand with a vibrant color palette, a catchy needle-drop and an always-relevant feminist message.”
Short Film Review: Marcellus Cox’s ‘Liquor Bank’
“‘Liquor Bank’ is a fine example of economical indie filmmaking.”
Review: Alex Braverman’s ‘Thank You Very Much’
“‘Thank You Very Much’ separates itself from previous Kaufman documentaries in the way the director directly confronts the correlation between an artist’s childhood trauma and creative outlook as an adult.”
Building the New Queer Canon #3: Olmo Schnabel’s ‘Pet Shop Days’
“The biggest problem with ‘Pet Shop Days’ is the extent to which it feels indebted to both an earlier wave of rebellious LGBTQ cinema and current trends in American independent filmmaking, never finding a distinct identity beyond homage.”
Review: Shal Ngo’s ‘Control Freak’
“‘Control Freak’ is a timely example of a modern horror film that doesn’t resonate with general audiences but appeals to worldwide film critics through its performances and overall quality.”
Building the New Queer Canon #2: Bruce LaBruce’s ‘The Visitor’
“In contemporary queer cinema, there isn’t a work like ‘The Visitor’ that’s even dared to tackle the wider-ranging relationships between disadvantaged communities on the receiving end of society’s scorn.”
Review: Atom Egoyan’s ‘Seven Veils’
“‘Seven Veils’ wears its heart on its sleeve like a John Cassavetes drama, and teases the audience like an M. Night Shyamalan thriller.”
Glasgow Film Festival Review: Uberto Pasolini’s ‘The Return’
“Using striking, elemental images, ‘The Return’ taps into the ancient power of Homer’s epic story.”
Glasgow Film Festival Review: Yugo Sakamoto’s ‘Baby Assassins: Nice Days’
“The secret weapon of ‘Baby Assassins: Nice Days,’ as with the other franchise films, is Mahiro and Chisato’s chemistry.”
Review: Carter Ward’s ‘Step Back, Doors Closing’
“‘Step Back, Doors Closing’ is essential viewing for Gen Z movie lovers, Washington D.C. natives and anyone who remains entranced by Linklater’s ‘Before Sunrise.'”
Glasgow Film Festival Review: John Maclean’s ‘Tornado’
“‘Tornado’ is thoroughly gripping, often gorgeous and altogether unique…”
Review: Zeshaan Younus’ ‘The Buildout’
“With a brisk running time of approximately 64 minutes, ‘The Buildout’ showcases a storyteller in harmony with a specific cinematic vision about life, death, trauma and healing through friendship.”
Review: Cody Kennedy and Tim Rutherford’s ‘The Last Video Store’
“‘The Last Video Store’ is a nostalgic horror production that talks the talk and walks the walk.”
Review: Eric McGinty’s ‘Stockade’
“‘Stockade’ will polarize viewers with its flimsy cultural commentaries.”
Review: Osgood Perkins’ ‘The Monkey’
“Perkins’ fondness for dark comedy has seen him regress as a filmmaker between projects by over-indulging in offbeat, irritatingly quirky laughs to the detriment of his horror storytelling.”
Short Film Review: Miss Dylan and Spencer Wardwell’s ‘Sweet Talkin’ Guy’
“If the aim of ‘Sweet Talkin’ Guy’ was to function as an intervention for single men everywhere, then Miss Dylan and Spencer Wardwell couldn’t have done the job better.”
Review: Drew Hancock’s ‘Companion’
“‘Companion’ is fiercely, unabashedly feminist.”
Animation First 2025 Review: Michel Hazanavicius’ ‘The Most Precious of Cargoes’
“‘The Most Precious of Cargoes’ may be illuminating for younger viewers at face value for how it doesn’t shy away from the horrors of war from a survivor’s perspective…”
Review: Kyle Mooney’s ‘Y2K’
“I imagine that Mooney most likely pitched ‘Y2K’ as a mash-up of ‘Superbad’ and current trends, and that’s exactly how it goes down — a bunch of derivative gags in a feature film format for nostalgic pop culture consumers.”