“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
“For a filmmaker usually so concerned with the social causes of injustice, ‘The Offence’ is remarkably focused on the troubled psychology of its central character.”
“As a kind of grown-up ‘Clue’ in reverse, complete with the tribute appearance of a pepper-box revolver, ‘Ready or Not’ also lays out a motley assortment of Colonel Mustard and Mrs. Peacock-worthy opponents hell-bent on dispatching Grace prior to sun-up.”
“An efficient script and commanding central performance from Sarah Bolger produce a memorable film with mostly intelligently drawn characters.”
“Although ‘Come to Daddy’ slightly loses while accelerating to its conclusion, the splatter of dark comedy and dysfunctional father-son dynamics is always engaging and frequently smart.”
“Queerness is something in ‘Sweet, Sweet Lonely Girl,’ but it feels lacklustre and performative, just used as an excuse to put further emotional despair onto Adele, just used to tease the illusion of a life where she can be loved and treated with respect.”
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
“‘Too Old to Die Young’ is rough around the edges, and perhaps deliberately so. It’s almost as if the writers are two brothers in a car fighting between soft rock and techno on the radio.”
“The questions ‘New Money’ poses are numerous and mostly left unanswered. The film is scattershot at times and tonally inconsistent throughout, flirting with elements of a crime thriller and a goofy comedy.”
“Whether they intended to or not, the ‘Gimme Shelter’ filmmakers had tapped into and exposed a diabolical soul and a deep-seated hostility. The sun that had fleetingly shone so brightly was starting to set.”
