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…
My Prince Edward is presided over by star Stephy Tang and director Norris Wong, both of whom reject schematism in favor of more subtle, surprising work. No pop star acts quite like Stephy Tang. Most singers who turn to movies carry some kind of flamboyance with them, a projection…
Love, Weddings & Other Disasters is sub-Garry Marshall drek built upon half-assed jokes and underdeveloped storylines. Dennis Dugan has gifted the world some of Adam Sandler’s best films (Happy Gilmore and You Don’t Mess With the Zohan stand out) and punished it with some of his worst (Jack and…
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…
Farewell Amor resembles, in shape, less accomplished recent indie efforts, but it eschews much of their patness in creating something altogether more complex and affecting. From a cursory glance, one could be forgiven for dismissing Ekwa Msangi’s feature debut, Farewell Amor, as yet another recrudescent addition to the selfsame…
Wild Mountain Thyme is a hurried, generic The Quiet Man-Hallmark fairy tale mashup, with all the mess and none of the fun that description suggests. From the moment the trailer for Wild Mountain Thyme dropped in early November, the film has faced a healthy backlash from viewers who have criticized the off-base…
Window Boy Would Also Like to Have a Submarine thankfully manages to avoid status quo filmmaking but still feels somehow unfinished. There seems to be a popular, contemporary aesthetic that utilizes a retreat into narrative alienation, where the sum of static wides and a distanced ennui, enveloped within often…
Identifying Features Within a cinematic tradition that associates the violence of Mexico’s crime-infested northern border with the high-stakes machismo of drug cartels and CIA spies, Identifying Features sets itself apart by virtue of its provenance and scope. The feature debut of Fernanda Valadez, a young and relatively unknown…
All My Life adopts the familiar form of any number of tragic romances without building any depth into its vision. Jessica Rothe is undoubtedly one of the most promising young actresses working in film today. Her calling card is the particular brand of charm and playfulness she exudes, marked…
Nomadland’s delicate attention to storytelling tradition unfortunately gives way to conventionality in the film’s back half, displacing its early promise. Having just taken the top prize at this year’s Venice Film Festival, Nomadland begins its journey towards Oscar gold. That’s admittedly a flip assessment of a film that…
Few debut albums have, since their initial release date, so easily defined themselves as a milestone and game-changer for a genre in the way of In the Court of the Crimson King. The record, released in October 1969 by British outfit King Crimson, is an indisputable masterwork of rock…
While not up to the standard set by T-Swift’s best writing, folklore still manages to remind that she is as keen an emotional observer as ever. The presentation, in both its marketing and its media representation, of Taylor Swift’s latest has taken up more space than the music itself…
Sufjan Stevens What exactly is Sufjan Stevens ascending on his latest album? Celebrity? Corporate attention? This current political moment? God? All that and more, quite possibly — though the 15 songs that comprise The Ascension’s 80-minute runtime aren’t really concerned with those sorts of particulars. Stevens wants answers,…
While perhaps slightly more superficial than a typical Morris, My Psychedelic Love Story is still another successful entry in the director’s continuing interrogation of late-1960s America. While perhaps not apparent in every film he’s made, Errol Morris has long been hard at work on the project of sussing out…
With Lovers Rock, McQueen mostly turns down his directorial affectations and let’s the film’s beauty and joy act as guide. Steve McQueen has always been a fine purveyor of potentially rich and powerful narratives, but he’s been much less consistent as their steward. His first three features (Hunger, Shame, and…
Superintelligence undermines its innocuous silliness and any potential rom-com aspirations with needlessly complicated stakes and a fixation on its own high concept. There’s a genuinely charming romantic comedy hiding somewhere within the edges of Superintelligence, the new Melissa McCarthy vehicle directed by her husband, Ben Falcone. Sadly, to find…
Monsoon is a poetic, aching work that details both the reclamation and awakening of one man’s lost identity. The alienation of a Vietnamese expatriate named Kit (Henry Golding), who returns to his ancestral home after a lifetime spent in Britain, is at the core of Hong Khaou’s Monsoon, an…
Dating Amber is a nice enough film in the way of so many other forgettable, generic coming-of-age efforts. Perhaps it should be taken as progress that films like the gay coming-of-age teen dramedy Dating Amber are no longer anomalies within the cinematic landscape. Strides have been made over the…
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…
Sound of Metal is not the sonic game-changer that its marketing once suggested, but it works marginally better as a restrained, if formulaic drama. Sound of Metal seems to believe itself to be part of some kind of sonic evolution in cinema. It isn’t. Darius Marder’s debut concerns Ruben (Riz…
The Climb is perhaps overly familiar but boasts a chemistry-rich lead duo and a winning commitment to its comedy-by-repetition mode. The Climb opens on the image of two friends on a French bike tour: Mike (Michael Angelo Covino, also acting as writer-director here) and Kyle (Kyle Marvin, Covino’s co-writer). Both…