Review: The Lost Daughter
Maggie Gyllenhaal's striking debut. Sundry pleasures turn ghastly in The Lost Daughter: still life-worthy fruit rots imperceptibly in its...
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- Feb 1, 2021
Skittering amusement and missed opportunity in French Exit
When there’s no money left to burn, you have to set yourself on fire. In this movie life’s greatest shame after all is being unable to...
- Dec 5, 2020
Hillbilly Elegy bakes conservatism into the text
Ron Howard really leans into the elegy part of this adaptation of a NYTimes besteller for Netflix. The technically-proficient biopic rues...
- Dec 4, 2020
Review: On the Rocks
One can fantasize about how much Sofia Coppola was paid for this quick job or why she agreed to it. On the Rocks is a paint-by-number...
- Nov 10, 2020
Six in Paris is the original Paris je t'aime
In Six in Paris, an omnibus film from 1965, a slew of Nouvelle Vague/adjacent greats pack a wallop in just quarter hour segments. Each...
- Nov 4, 2020
Personal histories and societal burdens in Swallow
A blushing bride, burdened by domesticity sublimates her issues by turning them inward. Literally. She develops pica, gulping down...
- Oct 20, 2020
Clowning around: Jesus Rolls too merrily along
My first instinct is to say that Jesus Rolls was an insufferable waste and shunt it down the bottom of the "best however many films" list...
- Oct 16, 2020
Mythmaking at NYFF 2020
Reviews of Beginning, Tragic Jungle, and Atarrabi and Mikelats. Beginning (dir. Dea Kulumbegashvili, Georgia) Singularity of vision...
- Oct 3, 2020
NYFF 2020 review: The Woman Who Ran
There’s no escaping men, but there is always the cinema. This could be one way of summarizing the latest from the prolific Korean...
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