I Sing for Myself: Renée and Judy on Judy Garland
“Judy the Actress and Judy the Icon may have been one in the same after all.”
Review: Alexa-Jeanne Dubé’s ‘SDR’
“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.”
The Neorealist Connection: Italy’s Polizieschi
“Though the polizieschi may seem far away from the quiet nobility of the Neorealist films, with all their sober-minded social critique, they are bound together by the privileging of the real world.”
Review: Pietro Marcello’s ‘Martin Eden’
“In ‘Martin Eden,’ the games that Marcello plays with form and structure coalesce into an immensely moving film, which — grounded by the standout turn from Marinelli — offers a new direction for the stale “Great American Novel” adaptation.”
Joanna Hogg Directs a Dazzling Honor Swinton Byrne in ‘The Souvenir’
“‘The Souvenir’ is essential viewing for devoted cinephiles.”
The Empowerment of Female Pleasure in ‘The To Do List’
“‘The To Do List’ not only made me feel comfortable with my sexuality and my body as a woman, but it also helped me understand that sex is natural and organic.”
Illness and Self-Reflection: Pedro Almodóvar’s ‘Broken Embraces’ and ‘Pain and Glory’
“By experiencing Almodóvar’s films as the product of a man whose view of the world is deeply affected by a variety of nagging medical concerns, only a few late period works thoroughly scratch under the surface of his psyche.”
TIFF 2019 Review: On the Spiritual Strivings of Trey Edward Shults’ ‘Waves’
“For a story that engages with tough, thorny questions of redemption and reconciliation, it’s a welcome development to have a filmmaker look upwards, not inwards.”
Modern Malick
“In Malick’s effort to capture the alienation that accompanies modernity, in his contemporary-set films, he ultimately achieves a similar alienation cinematically.”
Interview with ‘Romantic Comedy’ Director Elizabeth Sankey
Romantic Comedy Interview: Vague Visages’ Pablo Staricco Cadenazzi discusses the 2019 documentary with filmmaker Elizabeth Sankey.
Hollywood Confronts Itself: Cynicism and Self-Doubt in the 50s
“A sense of restlessness began to be addressed tentatively, and was confronted with increasing boldness as the decade progressed. Battles were being waged on multiple fronts of this unacknowledged war, claims were being sought from historically neglected constituents.”
Edinburgh Film Festival Review: Emily Harris’ ‘Carmilla’
“‘Carmilla’ proves to be a successful adaptation that will appeal to anyone looking for some unearthly shivers, or a coming-of-age story where being conscious of one’s own sexuality takes centre stage.”
Review: Nahnatchka Khan’s ‘Always Be My Maybe’
“The rom-com isn’t dead. It was simply evolving into something more interesting, more modern and more accepting.”
The Western Enters the 70s – Part 1: Sam Peckinpah’s Lonely Cowboy
“With his concern for the outsider, and his reorienting of the West’s perception in the American mind, Peckinpah helped to birth the Acid Western.”
Review: Ry Russo-Young’s ‘The Sun Is Also a Star’
“Despite entertaining directorial flourishes often accompanied by striking stock footage cutaways — from Carl Sagan to a history lesson on Black hair care products — Russo-Young can’t set her hooks into much beyond the postcard images of the Big Apple.”
‘Tolkien’ Is a Competent Yet Clichéd Biopic About ‘The Lord of the Rings’ Creator
“Those seeking some deep-dive exploration into Tolkien and his process will likely get more out of a standard biography or documentary. As it stands, ‘Tolkien’ is a merely adequate celebration of the author and the power of art.”
Review: Michael K. Feinstein’s ‘The Browsing Effect’
“Written and directed by Michael K. Feinstein, ‘The Browsing Effect’ highlights the beauty of lasting connections. Despite pressing too hard on social media tropes, the film includes numerous charming performances and genuine laugh-out-loud moments.”
Review: Jenny Gage’s ‘After’
“‘After’ plays it too safe start to finish. And aside from whatever discussions might emerge concerning the representation of toxicity, masculinity and toxic masculinity, the lack of originality is the film’s Achilles heel.”
A Romanticized Tale of Time: Jia Zhangke’s ‘Ash Is Purest White’
“‘Ash Is Purest White,’ Zhangke’s latest film, is another masterful chapter of the director’s artistic journey, one that works wonderfully as a point of entry into his oeuvre.”
Berlinale 2019 Review: Joanna Hogg’s ‘The Souvenir’
“‘The Souvenir’ is an infuriating but ultimately rewarding experience set to inspire deep criticism and analysis.”