Review: Mike Flanagan’s ‘Doctor Sleep’
“In a weird way, Flanagan might have inadvertently made the best X-Men movie to date.”
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Photographic Memory in Frank Beauvais’ ‘Just Don’t Think I’ll Scream’
“Beauvais does what the essay filmmaker ought do: he appropriates film to his own ends. The combination of words and pictures rings nary a false note.”
Review: Noah Baumbach’s ‘Marriage Story’
“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.”
Robert Eggers Unlocks ‘The Lighthouse’
“‘The Witch’ may be the superior film, but ‘The Lighthouse’ shows Eggers growing by leaps and bounds as a storyteller and visual stylist.”
Review: Alice Waddington’s ‘Paradise Hills’
“One can’t help but wonder how Waddington might reinvigorate other sci-fi tales with her fairy tale stylings.”
Review: Alexa-Jeanne Dubé’s ‘S.D.R.’
“Based on ‘Oui mais non’ and ‘S.D.R.,’ Dubé seems fully capable of tackling various genres, and taking the medium forward into the future.”
Review: Ciro Guerra’s ‘Waiting for the Barbarians’
“‘Waiting for the Barbarians’ is utterly removed from anything of Italy, and yet echoes the most vulgar and despicable parts of film culture.”
Review: Ruben Fleischer’s ‘Zombieland: Double Tap’
“Despite the warmed-up leftovers, ‘Zombieland: Double Tap’ manages to locate a few bright spots, and none are more appealing than Zoey Deutch.”
Review: Marianne Métivier’s ‘She Who Wears the Rain’
“‘She Who Wears the Rain’ shows how lucid dreaming engagement can help people cope with mental health issues.”
Review: Milena Lurie’s ‘Entangled’
“‘Entangled’ feels like a clunky ‘Love in New York’ story during the first hour, but ultimately transforms into a moving tale about self-love and acceptance.”
