“With ‘This Is a Robbery,’ Barnicle manages to pinpoint what probably happened at the Isabella Stewart Gardner Museum on St. Patty’s Day 1990 while amplifying the long-term mystery.”
“Bargatze delivers a strong one-hour set in ‘The Greatest Average American,’ even if he seems more interested in referencing his family and friends than owning the stage with original bits.”
“‘The Serpent’ fashions itself as a serial killer epic, but feels more like an uninspired Jacques Audiard knockoff that shows little interest in deconstructing the psychology of its subject.”
“‘All these books, all this magic, yeah, they have potential. But what exactly is ‘DOTA: Dragon’s Blood’ trying to say?”
“When viewed as a character study, ‘Made You Look’ is the rare art documentary that has a re-watchable quality.”
“Whereas many Netflix acts are so clearly designed to address cultural topics A, B, and C — whether it’s politics, social media, or celebrity culture — Regan riffs away with evergreen observational humor that gives ‘On the Rocks’ a timeless quality…”
Dipankar Sarkar Interviews ‘Kaali Khuhi’ Director Terrie Samundra
“‘Mank’ is just the latest installment in Netflix’s self-concious branding strategy.”
“There’s a lot to admire about ‘Pieces of a Woman,’ but Mundruczó’s film loses its way as it continues to untether itself from the opening’s grounded realism.”
“‘Rebecca’ feels sanded out, erased of all imperfection, identity and mystery.”
Dipankar Sarkar Interviews ‘Dolly Kitty & Those Twinkling Stars’ Filmmaker Alankrita Shrivastava
Dipankar Sarkar Interviews ‘Class of ’83’ Director Atul Sabharwal
Dipankar Sarkar Interviews ‘Raat Akeli Hai’ Screenwriter Smita Singh
“Point of view and selfhood have assumed for Kaufman a place of great consequence from ‘Being John Malkovich’ to ‘Eternal Sunshine of the Spotless Mind’ to ‘Anomalisa,’ and ‘I’m Thinking of Ending Things’ is a remarkable extension.”
Dipankar Sarkar Interviews ‘Choked’ Screenwriter Nihit Brave
“One of the most effective storytelling strategies in Spike Lee’s ‘Da 5 Bloods’ is the application of the simple and elegant dichotomy.”
“As always, Spike Lee asks all the right questions, and it’s up to us to recognize that even though the answers may not be ones we want to hear, we need to grapple with them all the same.”
“‘Ghost in the Shell: SAC_2045’ attempts to move the series into full octane action but pushes its philosophical roots to the side.”
“‘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.”