“‘Happy Death Day 2U’ is a light sci-fi movie with the thinnest veneer of horror, and your enjoyment of the film will depend on your willingness to accept its geeky premise and nonexistent scare factor.”
“‘The Souvenir’ is an infuriating but ultimately rewarding experience set to inspire deep criticism and analysis.”
Iana Murray on Her London Film Festival Conversation with ‘Burning’ Star Steven Yeun
“‘Velvet Buzzsaw’ is nicer to look at than a urinal signed ‘R. Mutt,’ but like Duchamp’s ‘Fountain,’ I won’t be rushing to see it again anytime soon.”
“A thorough, engaging thesis that bridges physical and digital gaps both affirming and sinister, ‘A Self-Induced Hallucination’ is a witty, gripping compilation of collaborative creativity and sterile self-interest.”
“‘The Village’ is indeed a fantastic movie, and one that deserves more credit. That is the twist that actually matters.”
“Yes, the alien scenes in ‘Signs’ remain startling and scary 17 years later, but it’s the film’s depiction of what happens to people who lose faith that truly resonates and terrifies.”
“As a recurring visual motif in ‘Unbreakable’ illustrates, sometimes all it takes to do something new is by turning things upside down and gaining a different perspective.”
“To use a gaming term, it’s got replay value, but it might leave those looking for a cohesive, more-traditional narrative choosing a different path.”
“‘The Mule’ will not be remembered as one of the Eastwood classics. In all likelihood, it will be boxed in with two superior Eastwood films as part of a collector’s pack.”
“With ‘The Tale,’ Jennifer Fox addresses a painful subject in a straightforward and clear-eyed manner.”
“The power of ‘First Reformed’ is rooted in Schrader’s ability to take a number of clear forbearers — Bresson, Dreyer, Pialat — and twist them into a style that feels wholly unique and rooted in a personal set of values and obsessions.”
“One of the most exciting things about smaller film festivals is the possibility of seeing the kind of movie that one might not get to see otherwise. That’s what makes Tomas Street’s ‘Fugue’ such a great discovery.”
“In a way, the premise is just the antechamber that one has to see before entering the main room.”
Zach Vasquez Interviews ‘Cam’ Filmmakers Isa Mazzei and Daniel Goldhaber
“‘The Clovehitch Killer’ offers much for the audience to ponder: what it means to be a man and a human, what it means to keep secrets and what it means to face monsters and survive.”
“Just as the internet unleashed the Slenderman, it is culpable in bringing forth another seductive monster who uses this technology to warp minds and sow division…”
“‘Cam’ is an uncomfortable watch, despite its absolutely dazzling visuals and outstanding production design.”
“A swirling, tumbling vision of Cold War paranoia and coven politics, ‘Suspiria’ will both astound and baffle; the conflict that defines its muted streets, full of uneasy dreams and restless feet, will come to bear on its audience and their nightmares.”
“Goddard delineates his film from its influences by focusing almost exclusively on character. Rather than a story filled with twists and turns and manipulation of the audience, ‘Bad Times at the El Royale’ presents each character’s story as a solo vignette, before tying it into the overarching drama.”