“‘The Irishman’ may be the last film of an era. The banquet scene ranks among the most powerful sequences of Scorsese’s career because he allows it, following Visconti’s example, to linger.”
“What’s consistently left out of the ‘Cheer’ conversation is a discussion of the precarious tension of love and exploitation between coach Monica Aldama and the team.”
“Diop’s feature debut is one that embraces the strange, joyous and tender moments that extend beyond boundaries and linear temporalities. Neither love nor life moves in a straight line.”
“At once riveting and entertaining, while inciting in the viewer visceral and arduous self-reflection, ‘Marriage Story’ is an uncompromising and deeply affectionate reflection on what pulls us apart and yet what keeps us bound together despite it all.”
“While ‘High Flying Bird’ may seem uneven at first glance, one has to appreciate that Soderbergh directly addresses controversial societal topics that always touch a nerve in America.”
“Many can relate to the time-sucking dread of endlessly scrolling through options in search of something to watch, which has become the digital-era equivalent of scouring video store shelves for some tasty new treat or previously overlooked gem.”
“Its vibrating self-awareness, unwieldy traveling circus vibe and mind-bending movie-within-a-movie duality allow Welles to simultaneously mock and indulge in the critically celebrated, sexually-charged, Antonioni-style, European art film.”
“‘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.”
“How many movies have been lost or nearly lost to circumstances before a public release can provide closure for the anxious and expectant filmmaker?”
“The future of horror isn’t female, it’s the present. And it’s about bloody time.”
