Film Reviews
The Bikeriders is a memorable addition to Jeff Nichols’ ouvre.
Made in England: The Films of Powell and Pressburger is a fitting tribute to the preeminent magicians of the movies.
Revisiting July Rhapsody is a reminder that Ann Hui is one of the most empathetic and important filmmakers of the Hong Kong New Wave.
The prevailing refrain of Thelma is how it supersedes expectations in all manner of ways.
How I Roll is not just for those familiar with the difficulties of MS, but those who wish to see how the human heart can endure and continue to thrive.
Michael Friberg’s newest short, You Are Here, blends comedy and existentialism as one man grapples with the sheer scope of existence.
Princeton’s in the Mix skewers a mother’s obsession with her son’s performance on the SATS, taking the potential consequences to an extreme.
Family Portrait captures the underlying sense of menace seeping into the monotony of everyday life that characterized the early days of the pandemic.
Robert Schwentke’s German film “Seneca: On the Creation of Earthquakes” is the latest movie in which John Malkovich gets to yell at people.
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
All these errors in execution aside, Green Border should raise international awareness of what’s happening to these refugees on the European border.
For the viewer who doesn’t mind overt imitation– Beacon, with its twists, turns, and choppy seas, may hold some interest.
They’re Here will struggle to connect to its audience, too often feeling as though it is attempting to only reach others whose experiences matches its own.
Ultimately, though the package may feel familiar, The Devil’s Bath still has cogent ideas to share.
Brats is a reminder old wounds can calcify and scab over turning into the foundation for something all the more beautiful.