Chris says: “I believe any work of art has the potential to be both ridiculous and sublime, however rarely one achieves such a tricky balance is. To its credit, FIRST REFORMED is often firmly the latter—the austere opening credits sequence with
Chris says: “If anything, Nadine Labaki has a talent for coaching great performances from child actors: Zain Al Rafeea, the 12-ish-year-old lead is exceptional for his age, but one-year-old Boluwatife Treasure Bankole nearly goddamn steals the show from him. Loses
Chris says: “Not to diminish all the great moon-landing footage, what stuck with me most here was the first half-hour: a fascinating time capsule of what this country and its people looked like fifty years ago, restored to appear as
Chris says: “Ephemeral but heartfelt and engaging, particularly whenever it shows the dialogue occurring organically between the Preservation Hall Jazz Band and the Cuban musicians (it spends a little too much time telling us about it.)”
Chris says: “Jia Zhangke’s last film, MOUNTAINS MAY DEPART is my favorite of his assessments of how much China has evolved in his lifetime; although this repeats many of that film’s tropes (plus sneaks in a callback to STILL LIFE,
Thom says: “One of my favorite things about seeing films is when I cash in on someones recommendation and the film blows me away. Such was the case from Chlotrudis reporters for their strong reviews of this sharp indie winner.
Chris says: “It’s a canny move to set the 1942 source material in the present day, and shrewder still for director Christian Petzold (PHOENIX) to indulge in stylistic motifs that one would find in a film from that era (most
Brett says: “A surefire candidate for a Chlotrudis ‘Best Use of Music in a Film,’ WOMAN AT WAR dives deep into the story of an middle-aged eco-activist who dedicates herself to putting a cause she believes in above her own
Chris says: “Rest assured, Claire Denis’ first English-language feature is no sellout or concession to a more commercial cinema; on the contrary, it’s possibly her most enigmatic effort since THE INTRUDER. It centers on Monte (Robert Pattinson, further distancing himself
Chris says: “I totally get Satanism as a rejection against ‘straight’ society, but how ’bout as activism to *protect* separation of church and state? My skepticism, however, gradually broke down–as she conveyed with her last doc NUTS!, director Penny Lane