“‘The Treasure of Foggy Mountain’ doesn’t match the quality of mid-level Adam Sandler comedies, but it just may work as a double-billing with Akiva Schaffer’s 2007 film ‘Hot Rod’ starring Andy Samberg…”
“‘Black White and the Greys’ isn’t defined by its political dialogue, but rather by its handling of the human condition. And it’s arguably one of the best COVID-themed movie productions since the similarly minimalist ‘Host’ (Shudder, 2020).”
“Ultimately, ‘The Killer’ is just a fun, pulpy romp that is more akin to the plug-and-play adventures of I.O. Interactive’s ‘Hitman’ series than a profound statement on the culture at large.”
“Powered by Radwan’s empathy and the subjects’ collective determination, ‘Tomorrow, Tomorrow, Tomorrow’ is a must-see world cinema documentary.”
“‘It’s a Wonderful Knife’ is watchable but slight. And considering how popular Hallmark Christmas movies continue to be, maybe that’s all horror fans will really expect.”
“‘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.”
“Amies’ revelatory rock doc succeeds by exploring the sacred and profane aspects of the subject’s musical mentality.”
“With ‘Sister Death,’ Plaza builds upon traditional elements of the possession movie by expanding his cinematic universe through cosmic horror.”
“Xiaopeng Tian’s ‘Deep Sea’ features the most mesmerizing animation since ‘Spider-Man: Across the Spider-Verse.'”
“A total riot, ‘Kubi’ is a consummate epic that pokes fun at components of the subject matter while communicating the cold tragedy.”
“‘Breathing In’ effectively deconstructs themes of eternity, loyalty and slow strategy — it’s a timely tale about the horrors of war.”
“‘The End We Start From’ falls short of being a meaningful observation on the perils of climate injustice, but the film succeeds as an embodiment of maternal commitment, largely due to Comer’s wonderfully present performance.”
“The rhythms in ‘Music’ — the shift from one image to the next — make sense in ways that defy obvious explanation, much like the film itself.”
“There is no one better at channelling the multi-faceted force of joy than Binoche, whose entrancing performance grounds ‘The Taste of Things’ in its gentle tragedy.”
“Stolevski’s work has air and breath to it, like someone in love with the energy of simply creating.”
“A distinctly Ghibli feel pervades ‘The Boy and the Heron,’ which more comprehensively and ambitiously connects the studio’s interests than ever before — in whimsy and poignancy, struggle and adventure, the serious and the magical.”
“‘The New Boy’ is a film of deep, mystical qualities, and I can’t wait to revisit it.”
“Not only does ‘Oppenheimer’ prove to be one the best-crafted biopics in recent memory, but it also boldly reaffirms the director’s auteur status.”
Jaime Grijalba on Santiago Festival Internacional de Cine