Browsing Tag


#BlockbusterBeat by Daniel Gorman Film

Halloween | David Gordon Green

October 25, 2018

Whatever its flaws (and they are myriad), director David Gordon Green’s Halloween is certainly a good looking film: Cinematographer Michael Simmonds mimics John Carpenter’s 1978 original through subtle use of an autumnal palette, and by allowing slightly overcast and gray skies to appear without excessive color correction. Nighttime scenes have an almost chiaroscuro effect here — large swaths of black are punctuated, jarringly, by car headlights and flashing police sirens. The effect creates a pleasing contrast between warm yellows and cold…

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#StreamingScene by Daniel Gorman Film

Apostle | Gareth Evans

October 24, 2018
apostle 2

Gareth Evans made his name with martial arts films, but based on how shockingly violent The Raid and The Raid 2 are, it’s not surprising that he would direct his interest toward the horror genre — and its ample opportunities for gruesome viscera. Like a remake of The Wicker Man that transforms into a riff on Witchfinder General, Apostle follows Thomas Richardson (Dan Stevens) as he attempts to infiltrate an island of cultists who have kidnapped his sister.…

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#StreamingScene by Andrew Sanford Film

Hold the Dark | Jeremy Saulnier

October 23, 2018
Hold the Dark

Silence can be used as an effective tool in any film; it helps set the tone of a scene, builds tension, and can truly convey the intensity of a moment in a way that’s equally as effective as, say, violence. Both silence and violence can also be used as a crutch, of course — a gratuitous way to raise the stakes of a situation. But in Hold the Dark, director Jeremy Saulnier wields these tools with the efficacy of a well-trained soldier, waiting patiently with his weapon for the opportune moment…

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by InRO Staff Festival Coverage Film

New York Film Festival 2018 – Dispatch 2

October 22, 2018

For our final dispatch from the 2018 New York Film Festival, we take a look at each of the features from the fest’s avant garde-themed Projections program (our previous dispatch featured our takes on some of the titles from NYFF’s Main Slate). Included in this year’s impressive line-up: The debut feature film from “filmmaker/animator/composer” Jodie Mack; Taiwanese narrative filmmaker-turned-avant gardist Tsai Ming-liang’s latest; the provocative Catalan independent filmmaker Albert Serra’s very appropriate follow-up to his 2016 film The Death of Louis XIV; New York-based director…

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by InRO Staff Festival Coverage Film

New York Film Festival 2018 – Dispatch 1

October 17, 2018

The 2018 New York Film Festival just wrapped over the weekend — which means it’s curtains for 2018’s fall festival season (I’m so sorry). Our first dispatch tackles Main Slate selections from the fest that we haven’t already covered (see our five Toronto Film Festival dispatches and Private Life), and that we don’t have plans to cover soon (next month, look for Alfonso Cuarón’s Roma and Joel & Ethan Coen’s The Ballad of Buster Scruggs in Streaming Scene and Barry Jenkins’s If Beale Street Could Talk in Blockbuster Beat).…

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#StreamingScene by Matthew Lucas Film

Private Life | Tamara Jenkins

October 16, 2018
Private Life

Set amidst a deeply bourgeois milieu where children tend to be treated more like expensive fashion accessories than actual human beings, Tamara Jenkins’s wise, warm, and altogether lovely Private Life  (her first feature in 11 years) introduces us to a middle-aged couple living in a rent-controlled apartment in New York’s Alphabet City. Rachel (Kathryn Hahn), a playwright, and Richard (Paul Giamatti, in his best role since 2004’s Sideways), a retired theater director, are trying desperately to have a baby in the face of mounting odds…

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#StreamingScene by Paul Attard Film

Bleach | Shinsuke Sato

October 9, 2018

In the world of Shonen Jump (a Japanese comics anthology series aimed at teenage boys), Tite Kubo’s now-defunct manga Bleach once ranked near the top — and then it’s worldwide popularity suddenly plummeted, about a year prior to an abrupt discontinuation in 2016. (The anime adaptation of the franchise ended even earlier than that.) It’s hard, then, to understand why a live-action film version has appeared now, dumped onto American streaming services about two months after its Japanese theatrical release.…

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by Eudaimonia Feature Articles Music

εὐδαιμονία | Issue II

September 27, 2018

In an effort to reboot our music coverage, In Review Online is launching monthly features devoted to reviewing new album releases. Last month, we launced εὐδαιμονία (or, Eudaimonia), which we’re presenting in collaboration with the upcoming quarterly journal of the same name, and which will spotlight five worthwhile contemporary music releases, plus one older one, with no genre boundaries. Issue #2 features the latest album from critically acclaimed indie-rocker Mitski; the fourth album by alt-R&B singer-songwriter/producer Blood Orange (A.K.A. Devonté Hynes); two EPs by the electronic artist…

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by InRO Staff Festival Coverage Film

Toronto International Film Festival 2018 – Dispatch 5

September 20, 2018

Our fifth and final dispatch from the 2018 Toronto International Film Festival (here’s the first, the second, the third, and the fourth) represents perhaps our most eclectic group of films yet: There are acclaimed filmmakers whose new works were seemingly passed on by some of the season’s other major fests (Xavier Dolan’s The Life and Death of John F. Donovan, Paolo Sorrentino’s Loro), an under-the-radar directing pair whose latest has been slowly accruing buzz since its Cannes premiere (Ciro Guerra and Cristina Gallego’s Birds of Passage), a hotly tipped fall…

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by InRO Staff Festival Coverage Film

Toronto International Film Festival 2018 – Dispatch 4

September 18, 2018

Our fourth dispatch from the 2018 Toronto International Film Festival (here’s the first, the second, and the third) continues sifting through the various cinematic voices, styles, and pedigrees that make-up this year’s official slate. This time, we offer our takes on a big historical epic from a mainstay of international cinema (Mike Leigh’s Peterloo), the sophomore feature from a breakout director of the film festival circuit (Laszlo Nemes’s Sunset), prestige Hollywood actor fare (Timothee Chalamet and Steve Carrell in Felix Van Groeningen’s Beautiful Boy, Lucas Hedges in his dad Peter Hedges’s Ben Is Back),…

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#BlockbusterBeat by Matt Lynch Film

The Predator | Shane Black

September 14, 2018

The stripped-down premise and formal exactitude of John McTiernan’s 1987 Predator are precisely not present in Shane Black’s The Predator, the latest attempt to drag-out and elaborate on a franchise that shouldn’t be burdened by much more than ‘scary monster kills people.’ This new installment collapses under the weight of four separate groups of characters whose plot strands strain to intertwine before the show can get rolling — and what’s worse, Black’s film bears all the hallmarks…

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by InRO Staff Festival Coverage Film

Toronto International Film Festival 2018 – Dispatch 3

September 13, 2018

Our third dispatch from the Toronto International Film Festival (here’s the first and here’s the second) includes our takes on a few hold-overs from this year’s Cannes slate (Ryusuke Hamaguchi’s Asako I & II, Gaspar Noe’s Climax, Eva Husson’s Girls of the Sun), a couple of mammoth documentaries (Wang Bing’s Dead Souls, Frederick Wiseman’s Monrovia, Indiana), high-concept films by two of international cinema’s most accomplished formalists (Zhang Yimou’s Shadow, Christian Petzold’s Transit), and a movie by that guy who got blasted with a shotgun by Naomi Watts (Brady Corbet’s Vox Lux).…

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