Beth Ca says: “I saw this film at the Provincetown Film Festival this summer and loved it. It’s a spectacular film, especially with the editing and visual design (it is winning awards for editing, and other categories). The film uses
Chris says: “It’s not so much that Melissa McCarthy is a revelation here as that she finally has a role that allows her to be more than just silly or weird (although she’s occasionally those things too.) The real-life story
Thom says: “My friends all know I love horror films even though a high percentage of them are atrocious. This was supposed to be a one-off on my recent trip to New York but despite the GROUNDHOG DAY rip-off HAPPY
Brett says: “VOX LUX is a demolition derby of themes that keep colliding after the initial premise is introduced. Just when the viewer thinks that he/she has a finger on what this movie is, another head-on impact from writer/director Brady
Chris says: “Barry Jenkins’ follow-up to MOONLIGHT is nearly that film’s sequel in that it further showcases his considerably humane approach to character and story even as he adapts someone else’s text (in this case, a James Baldwin novel.) The
Diane says: “The reason I went to see MID 90S, Jonah Hill’s directorial debut, was so I could admire Sunny Suljic’s hair again. (Sunny was the sweet little boy in KILLING OF A SACRED DEER.) Here Sunny plays Stevie, a
Chris says: “Cutting back and forth between concert and cinema verité footage is initially somewhat jarring, particularly for those who know little about Jones’ life offstage (i.e., most viewers). Fortunately, the latter’s contrast with the former grows more compelling as
Chris says: “A stranger-than-fiction doc even *more* fun than but almost disturbing as CAPTURING THE FRIEDMANS? No wonder it’s the feel-good-then-feel-bad indie hit of the summer. The first half hour or so is immensely entertaining; the increasingly wacko plot twists
Beth CA says: “This film is interesting, and it’s worth watching because of the subject – and the video and photographic footage was excellent. However, when a film aims to document an artist’s life and work, the film ought to
Chris says: “Given that 2008’s THE BEACHES OF AGNÈS was supposed to be Agnès Varda’s swan song, we’re just lucky at all to get one more film from the now 89-year-old Godmother of the French New Wave. And while this
Chris says: “Starts off a little boring and leaden, with two rich girls(Olivia Cooke and Anya Taylor-Joy, both very good) in a passive-aggressive pas de deux. It achieves some focus once the what-to-do-about-the-creepy-stepfather problem is established—a narrative we’ve seen too
Chris says: “Fairly pedestrian for a profile documentary—more worthy of CNN than a theatrical release, really. But Andre Leon Talley’s personality is welcome in almost any setting. Just as he nearly stole the show from no less than Anna Wintour
Michael says: “There’s some major symbolism going on in the Lebanese film,MARTYR by Mazen Khaled, possibly about the state of Beirut, where the film takes place, but the gorgeous shots of water, and actor Hamza Mekdad’s nude body lean more
Chris says: “A legal thriller from a director best known for his Ozu-worthy family dramas? It slots more neatly into his oeuvre than you’d expect, primarily because the mystery per se is steeped in familial relationships, only this time with
Chris says: “As an opera singer, Maria Callas had an undeniably great voice, but in her time she was also unmatched as to how she embodied her roles onstage (and offstage as well.) Tom Volf’s documentary is a lovingly assembled
Diane says: “Caught this Sundance winner doc at a small theater today. The central figure is a friend of director Dan Sickles’ (co-director is Antonio Santini; their first was MALA MALA). We land in the middle of the lives of
Thom says: “In nine short years Greek director Lanthimos has vaulted to my TOP 10 Living Directors. I’ve been unable to find his first two features MY BEST FRIEND and KINETTA, but his five films that followed have all received
Julie says: “This was a very well done doc. I recommend it. I think it painted a very clear, honest, intriguing and endearing portrait of Susanne Bartsch’s life and those around her as well as the important times in which
Chris says: “An admittedly frustrating but always fascinating puzzle box of a film. On the surface, it appears to be about teenager Madeline (Helena Howard), her antagonistic relationship with her single mother (Miranda July) and her after-school participation in an
Chris says: “Naming a favorite film by Japanese director Hirokazu Kore-eda is like doing the same for his closest progenitor, Yasujiro Ozu–nearly impossible, given their tendencies to revisit and refine themes of domesticity and humanism while maintaining a higher-than-average consistency.