“‘Amores Perros’ is almost entirely disinterested in its central location. It feels like a film made not to speak truth to Mexican audiences, but to present a hyperreal version of Mexico for international audiences.”
“‘The End We Start From’ is a contained version of the violent, end-of-world tales we have grown accustomed to. In its quiet examination of a woman’s journey to motherhood, the questions that surround the subject are writ large on the story.”
“‘Case of the Naves Brothers’ is hardly in the annals of great Brazilian cinema, like the works of Rocha, but it absolutely deserves to be seen in the same breath.”
“Grief is a quiet but unrelenting presence within ‘Inside Llewyn Davis’ that gradually reveals itself the more viewers learn about the death of Mike Timlin, the protagonist’s friend and singing partner.”
“With its uneven pace and fragmented narrative, ‘Mean Streets’ would not have nearly the same impact without its soundtrack.”
“John Huston’s 1948 film ‘Key Largo’ is yet another classical Hollywood studio system film in which barely a single frame was shot on location.”
“‘Red Rooms’ provides a perfect recipe for isolation and alienation, encouraged by a media world around us that seeks only to capture attention and never thoughts.”