Our first dispatch from the 2019 BFI London Film Festival takes a look at an eclectic array of films both major and minor on this…
Stick with me here: what if someone made a superhero movie, but, and I’m just spitballing, they took out all the superhero stuff so it…
It is endlessly frustrating to see Netflix continue to gobble up talented, idiosyncratic directors and spew out garbled, muddled nonsense. As critic Katie Rife recently…
Our first dispatch from the 2019 New York Film Festival offers quick takes on a smattering of the festival circuit’s biggest films this year, including:…
Nearly everything and everybody is disgusting in Fatih Akin’s The Golden Glove. That is, besides an attractive blonde high schooler whom serial killer/rapist Fritz Honka…
Paolo Sorrentino’s Loro is art in the Age of Trump — so basically the most weak-sauce imaginable critique of a buffoonish caricature (former Italian Prime Minister Silvio…
The corrupt progress of global capitalism is and has been an inevitability for the past half century, its footprint visible in the bruises mottling the…
Lifting a page from a varied litany of genre precedents, Jovanka Vuckovic’s Riot Girls envisions a post-apocalyptic world — brought about via virus, not zombies…
Takashi Miike has never been one to play it safe. With over 100 films under his belt in a little over 28 years, you would…
Writer-director Michael Tyburski’s feature film debut, The Sound of Silence, certainly has an intriguing premise, based on what’s known as house tuning — the process…
Diego Maradona, Asif Kapadia’s latest film, is entirely comprised of archival footage, most of which comes from Italian news sources that preyed upon the famed…
Precise figures will vary, but the fact remains that our world is in the midst of the largest refugee crisis since WWII. The convergence of…
For those who haven’t yet written off James Franco’s entire career, there’s some cause for optimism in the first act of Zeroville, his much delayed…
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…
Chained for Life opens with a quote from Pauline Kael: “Actors and actresses are usually more beautiful than ordinary people. And why not?” Director Aaron Schimberg’s invocation…
The Day Shall Come, Christopher Morris’s follow up to his debut (and sleeper hit) Four Lions, treads similar ground as its predecessor — though it…
It’s hard to believe that rocker turned horror auteur Rob Zombie would become one of the most divisive filmmakers of the 21st century. His debut…
Our seventh and final dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth, our fifth, our sixth)…
One must marvel at Travis Scott’s dramatic cultural ascendancy. The 28-year-old hip-hop artist currently operates in the highest strata of pop stardom, put there by…
With Ana, Mon Amour, director Calin Peter Netzer is desperately trying to align himself with the great figures of doomed romantic cinema, from Rivette and Cassavettes…
Our fifth dispatch from the 2019 Toronto International Film Festival (here’s our first, our second, our third, our fourth) tackles some of the fall’s bigger…