Flavors of Youth points out how memory is essential to all identity. How it is the source of all art and creativity.
Zama is about waiting— not the Waiting for Godot or Guffman kind— but the Colonial kind, which is historical, eloquently long and wonderfully filmed, cryptically acted and so broadly elliptical that it could mean anything while seemingly meaning everything. The …
Summer 1993 feels lived in, breathed, authentic but never nostalgic. There is not a lot of drama but plenty of life on display.
The titular heroine, who may or may not be going mad, is played by newcomer Helena Howard. Don’t take her disaffected scowl for serious acting. Three quarters of runway models can produce and sustain the same look.
A Prayer Before Dawn is a pure example of testosterone and rage filmmaking. It leaves you beaten down and shattered.
The Rider is a heartbreaking portrayal of those who can and cannot give up, of those living broken lives with broken dreams and broken hopes.
Brij Mohan tries to give its audience something more substantial than the usual light Bollywood fare. It ends up to squalid for that audience to watch.
Blindspotting is pure Oakland, pure there there. It drills down into the city’s essence and finds not just a physical place but the perfect metaphor for a divided and disenchanted America struggling and resisting change.
Sadly, Callahan’s cartoons vividly animated and sketched are receded as the art becomes background to the Oedipal drama of a son successfully overcoming his abandonment issues and alcoholism.
It’s a Memento meets A Beautiful Mind thriller about a Basque man who discovers that there is a mathematical correlation between a convenience store shooting tragedy and the same spot’s past, present and future.
Lynne Ramsey who made the hallucinogenic school violence themed fantasmagoria We Need to Talk About Kevin returns to direct after a five year hiatus. Like Kevin, Here is an impressionistic tonal assault of over saturated images, amped up acoustic exaggeration …
Adam Sandler produced Netflix movies aren’t about the quality. They are about how much stuff they can get away with, the more sexual the better. The plots are just setups for the gags. Father of the Year excuse is about …
Damsel is probably the best of a trio of feminist Westerns to grace the big and and small screen this year.
The sorrowful wisdom brought by their abandonment can be heard in the dialogue (spoken in English by a talented American voice cast), a disaffected whine two hopes, a pat and a cheerful compliment removed from love.
There is no explanation, no backstory just observation enshrouded in mythic layers of beautiful cinematography. Everything is left to interpretation, which is both besides the point and probably is the point.
Boundaries implies it's a film with no boundaries or trying to find it boundaries.
When the expected Deliverance moment comes it is both false and awkwardly right. They all get through the rapids not shattered, just a little bit better men, friends and maybe understanding and appreciative parent and child.
Director Andrew Haigh doesn't elevate the story with sappy sentiments and phony triumphs. Instead he delivers an elegiac rendering of the death of childhood.
King of Peking (streaming on Netflix) proves that the best buddy films are created by fathers and sons.
First Reformed is one of Schrader's finest films. It is his redemption, and a perfect fit for his transcendental style
It is all so emotionally and nakedly obvious. And that not only makes Sunday's Illness good but near great.
All I Want, a smart little indie co-written by the actress Melissa Center and debut director West Liang, is the millennial attempt to beat The Big Chill.
Foul mouth and over confident gangsters, international female assassins, domestic hit men with fuckup siblings, kingpins with hot triggered heirs that have daddy inferiority complexes, a city in riot mode, and Dave Bautista channeling Drax 2X, make for an over …
Hereditary is a smart reminder that the horror movie hasn't entirely forgotten it's past.
Every director strives for honesty, but few achieve it so sincerely as Lynn Shelton does in Outside In.