Review: ‘Monsieur Spade’ (Season 1, Episode 1)
“One of first signs of trouble in Monsieur Spade’s first episode is the overall lack of antagonists – the slow burn feels ill-suited for the title character and the genre at large.”
Review: Cassius Michael Kim’s ‘Man on the Run’
“Kim mostly hits the mark with ‘Man on the Run,’ even if some of the Adam McKay-style filmmaking choices don’t land particularly well.”
Review: Kimani Ray Smith’s ‘The Painter’
“‘The Painter’ seems destined for Tubi, where it may indeed earn a fanbase. The film clearly sets up a sequel, so a second franchise installment might be more creatively ambitious, even if its existence on paper doesn’t feel earned.”
Review: Ilker Çatak’s ‘The Teachers’ Lounge’
“With dashes of dark humor, unnerving tension and a striking lead performance centering it all, ‘The Teachers’ Lounge’ uncomfortably builds to claustrophobia in a real domino effect.”
Crime Scene #11: ‘Case of the Naves Brothers’ and a Sertão Mentality
“‘Case of the Naves Brothers’ is hardly in the annals of great Brazilian cinema, like the works of Rocha, but it absolutely deserves to be seen in the same breath.”
Review: The Adams Family’s ‘Where the Devil Roams’
“General audiences can access and appreciate The Adams Family’s ‘Where the Devil Roams’ from various perspectives – the mark of an enduring film.”
Grief Is the Key to Getting ‘Inside Llewyn Davis’
“Grief is a quiet but unrelenting presence within ‘Inside Llewyn Davis’ that gradually reveals itself the more viewers learn about the death of Mike Timlin, the protagonist’s friend and singing partner.”
Review: George Clooney’s ‘The Boys in the Boat’
“By only fleetingly bringing attention to the economic hardships at play, ‘The Boys in the Boat’ frustratingly remains a niche proposition, of fascination only to fans of the film’s focal sport.”
‘Mean Streets’ Establishes Martin Scorsese as a Soundtrack Virtuoso
“With its uneven pace and fragmented narrative, ‘Mean Streets’ would not have nearly the same impact without its soundtrack.”
Crime Scene #10: ‘Key Largo’ and a Hurricane of Justice
“John Huston’s 1948 film ‘Key Largo’ is yet another classical Hollywood studio system film in which barely a single frame was shot on location.”
Review: William Oldroyd’s ‘Eileen’
“A film drastically less than the sum of its parts, ‘Eileen’ commits the unfortunate blunder of continually reminding one of similar, better movies.”
Review: Ridley Scott’s ‘Napoleon’
“‘Napoleon’ is very much a repudiation and a revolt against history’s ‘Great Men.'”
Review: Paul Briganti’s ‘Please Don’t Destroy: The Treasure of Foggy Mountain’
“‘The Treasure of Foggy Mountain’ doesn’t match the quality of mid-level Adam Sandler comedies, but it just may work as a double-billing with Akiva Schaffer’s 2007 film ‘Hot Rod’ starring Andy Samberg…”
Review: Casey Nelson and Marchelle Thurman’s ‘Black White and the Greys’
“‘Black White and the Greys’ isn’t defined by its political dialogue, but rather by its handling of the human condition. And it’s arguably one of the best COVID-themed movie productions since the similarly minimalist ‘Host’ (Shudder, 2020).”
Review: David Fincher’s ‘The Killer’
“Ultimately, ‘The Killer’ is just a fun, pulpy romp that is more akin to the plug-and-play adventures of I.O. Interactive’s ‘Hitman’ series than a profound statement on the culture at large.”
The Messiness of Belonging: On Martina Radwan’s ‘Tomorrow, Tomorrow, Tomorrow’
“Powered by Radwan’s empathy and the subjects’ collective determination, ‘Tomorrow, Tomorrow, Tomorrow’ is a must-see world cinema documentary.”
Review: Tyler MacIntyre’s ‘It’s a Wonderful Knife’
“‘It’s a Wonderful Knife’ is watchable but slight. And considering how popular Hallmark Christmas movies continue to be, maybe that’s all horror fans will really expect.”
Crime Scene #9: ‘Red Rooms’ and the Iciness of Social Isolation
“‘Red Rooms’ provides a perfect recipe for isolation and alienation, encouraged by a media world around us that seeks only to capture attention and never thoughts.”
Review: Toby Amies’ ‘In the Court of the Crimson King: King Crimson at 50’
“Amies’ revelatory rock doc succeeds by exploring the sacred and profane aspects of the subject’s musical mentality.”
Review: Paco Plaza’s ‘Sister Death’
“With ‘Sister Death,’ Plaza builds upon traditional elements of the possession movie by expanding his cinematic universe through cosmic horror.”