5 to 7 — Review Bérénice Marlohe and Anton Yelchin in a scene from Victor Levin’s 5 to 7. “A largely traditional movie, stoically lumbering through its takes on love without taking any particular risks.” Continue reading “5 to 7 — Review” →
The Invitation — Review Logan Marshall-Green in a scene from Karyn Kusama’s The Invitation. “The film’s final half-hour is fully realized and thoroughly engaging. The problem is that getting there requires sitting through a stretch of time twice that length which is generally tedious.” Continue reading “The Invitation — Review” →
Prince (Prins) — Review Ayoub Elasri in a scene from Sam de Jong’s Prince. “[Director Sam] de Jong firmly establishes himself as a director to watch, and it’s not hard to imagine future projects in which he further explores bold stylistic drama, hopefully enhancing the complexity of his screenplays as well.” Continue reading “Prince (Prins) — Review” →
Casa Grande — Review Thales Cavalcanti (l) and and Clarissa Pinheiro (r) in a scene from Fellipe Barbosa’s Casa Grande. “While taking advantage of an anchored and stormy lead performance, Casa Grande is otherwise full of only partially-realized ideas and themes.” Continue reading “Casa Grande — Review” →
White God (Fehér isten) — Review “The film is so primarily affixed with connecting itself to its subtext that it fails to be a particularly well-told story on its own merits.” Continue reading “White God (Fehér isten) — Review” →
Taxi (2015) — Review Jafar Panahi’s taxi in Jafar Panahi’s Taxi. “The entertainment value in Taxi comes from trying to guess where Panahi draws the line between documentary and drama.” Continue reading “Taxi (2015) — Review” →
99 Homes — Review “99 Homes deals with relevant, dramatic subject matter, but often stumbles around in finding the right approach.” Continue reading “99 Homes — Review” →
Eden — Review Félix de Givry (l) and Pauline Etienne (r) in a scene from Mia Hansen-Løve’s Eden. “[An] insightful character portrait.” Continue reading “Eden — Review” →
Rise — Review Nathan Wilson in a scene from Mack Lindon’s Rise. “A vast land of almost-was and could-have-been, falling into a gray area where the positives and negatives cancel each other out, leaving a faint, unremarkable impression.” Continue reading “Rise — Review” →
Carol — Review “An incredibly beautiful movie in every sense of the word.” Continue reading “Carol — Review” →