There is a lot wrong with Onward, Pixar’s highly uninspired 22nd feature film. Its most surprising fault, though, is its complete lack of detail. Sure, it remains present aesthetically, in its gorgeous photorealistic backdrops and in each carefully tousled hair atop the head of…
We at InRO have never covered the Portland International Film Festival, but we’re all about evolving in 2020, and so here is our first ever dispatch (and the first of several we’ll be publishing across the next week). Featuring a slate packed with fall…
Our fourth (and tentatively final) dispatch from the 2020 Berlinale catches up with a pair of the festival’s biggest premieres (Cristi Puiu’s Malmkrog and Tsai Ming-ling’s Days) as well as a couple docs (The House of Love and Little Girl); it offers thoughts on…
The 2020 Berlin International Film Festival may have closed its curtains on another year, but we’re still here talking its slate. Our third dispatch begins by making a liar of me — we go long once more, in service of tackling Abel Ferrera’s latest.…
Our second dispatch from the 2020 Berlin International Film Festival does something a little different from our familiar festival coverage pieces. Below, a trio of writers go long on three international master filmmakers — Philippe Garrel, Jia Zhanke, and Christian Petzold — providing retrospective…
From the 1933 original to Paul Verhoeven’s Hollow Man, the cinematic iterations of Invisible Men have generally dealt with how a lack of accountability tends to bring out the worst in people, and they typically grant already somewhat sociopathic or narcissistic male characters with…
In his essential Jerry Lewis essay “The Jerriad: A Clown Painting,” film critic B. Kite discusses the lineage of classic clowns like Chaplin, Keaton, and Laurel and Hardy, saying: “The great comedians are metaphysicians. Through their relations with space and interactions with the material…
Our first dispatch from the 2020 Berlin International Film Festival takes on a diverse mix of 2019 festival circuit frequenters and a pool of debuting international fare, including: Kelly Reichardt’s First Cow; Lois Patiño’s sophomore effort, Red Moon Tide; Guy Maddin look-alike (courtesy of fellow Winnipeg…
OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some DVD bargain bin assuming that those still exist by the time this sentence finishes. In other words, while the title of In Review…
Kent Jones once wrote that Luc and Jean-Pierre Dardenne’s 1999 film Rosetta had “a fearsome unity, an unshakable commitment to rendering the contours of a destitute life and the ever present possibility of spiritual transformation.” Indeed, this is an apt description of not just…
