“‘She’s the He’ is a successful attempt at not just carving out a space for LGBTQ identity amidst the overbearingly heterosexual narrative tropes, but also bending those tropes so they can fit into a tale of trans awakening…”
“‘When Comedy Went to School’ is a must-see for not only American Jews, but also for anyone who appreciates the art of stand-up comedy.”
‘Vimukt’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Jitank Singh Gurjar.
“‘Villa Encanto’ seems destined to be adapted into a feature.”
“Younus’ dialogue becomes a little flowery at times in ‘I’ve Seen All I Need to See,’ though the filmmaker stays consistent with his overall balance and spiritual themes, much like he does in ‘The Buildout.'”
“Like many family films, ‘After All’ succeeds with its messaging and pushes too hard with moments of poignancy.”
“There’s plenty of heart to be found within ‘Another End,’ but the clunky handling of a climactic twist sadly feels emotionally and philosophically empty.”
“‘Goosebumps’ stands as further proof that there’s real demand for scary movies for kids…”
“‘Gavagai’ doesn’t break any new ground with its excavation of race in film and European art culture’s relationship to Africa, but Köhler interestingly addresses paradoxical problems within.”
“‘Queens of the Dead’ is queer excellence in all its messy glory.”
‘Bhediya Dhasaan’ Interview: Dipankar Sarkar discusses the 2024 movie with director Bharat Singh Parihar.
“‘Other’ may not be the sharpest or most original take on childhood abuse, but there’s more than enough to keep viewers invested until the devastating denouement — especially if you’re a parent.”
“‘A Private Life’ ultimately becomes lethargic and then putters out. Foster dangles in the midst of it, like an actress who sees the film set disappear while she’s still in her role.”
“For a film which tackles the cathartic nature of art and how fiction can help us heal after a tragedy, the personal touches of ‘Hamnet’ feel hollow whenever Zhao tries to conform to Shakespeare’s pop culture image.”
“As a film about the healing properties of the creative process, ‘Sentimental Value’ is rare in that the in-movie writing, performances and direction aren’t cathartic for the characters, but rather function as obstacles when they try to unpack their feelings.”
“‘Barrio Triste’ feels in line with the energetic and floating camerawork of Stillz’s music videos he has made for several artists, but it also stands as its own sort of gritty, meandering experiment that aims to excavate spaces within a particular setting.”
“Even the most cynical satire is half in love with the object of its barbs; there is a part of every constrained creative that loves their shackles and will make great play of rattling them.”
“‘Wake Up Dead Man’ transforms into something more impactful by sincerely and non-judgmentally attempting to grapple with faith from an atheist’s perspective.”
“‘Plainclothes’ isn’t necessarily a kinky film — it just does better than most tales of life in the closet to explain why this can be more alluring than coming out and finding somewhere to make these connections in the open.”
“‘Waltzing with Brando’ suffers from a sluggish rhythm and lack of narrative drive because it focuses on the wrong character and the wrong aspect of the subject’s life.”