There are far more questions than answers when you walk away from White Lie, the latest from writer-directors Yonah Lewis and Calvin Thomas. That’s because the titular white lie told by Katie Arneson (a fabulous […]
Author: Tomas Trussow
TIFF Review: Jallikattu (Pellissery, 2019)
Malayalam director Lijo Jose Pellissery takes us on a frenzied spiral into the heart of darkness in his latest blood-pumping thrill ride Jallikattu. As the opening title cards explain, the Indian tradition of the Jallikattu […]
Luce (Onah, 2019)
Luce is a film that abounds in absences, the foremost being the absence of our certainties. There are moments where dread circulates simply because intentions cannot be read, thereby thwarting expectations from forming completely. Motivations are […]
Vita & Virginia (Button, 2018)
Virginia Woolf is one of the greatest writers of all time, and certainly one of my favourite authors. It was, then, with much anticipation that I waited for news about Vita & Virginia to arrive out of […]
The Lion King (Favreau, 2019)
I have criticized Disney remakes in the past for their pointlessness; I have also given some a pass for their ability to entertain. The Lion King is not only a black hole of entertainment, it even goes […]
The Souvenir (Hogg, 2019)
I have read criticisms of Joanna Hogg’s formal austerity, particularly as it pertains to audience connection. What good is it, they say, if the film purposely frustrates our ability to unlock these characters and their […]
The Beach Bum (Korine, 2019)
When you hear the call of Harmony Korine, you are likely to either turn away or heed it. I can understand why some impulsively have no interest in him, especially considering the uncompromising oddness of […]
Once Upon a Time in… Hollywood (Tarantino, 2019)
Please note that this review includes spoilers about the film’s conclusion. Fairy tales are the spaces in which our childhoods dream. Their worlds are enormous in their specificity, for the greater the specificity, the greater […]
Apollo 11 (Miller, 2019)
It’s so gratifying to go into a documentary and not have to be talked at for two hours. For those that feel differently, there are many other films you can watch about the Apollo 11 […]
Yesterday (Boyle, 2019)
The premise of Yesterday works in some respects. Imagining a world without a particular cultural commodity, with all its associated prestige and iconography, can yield intriguing implications—especially if a few select people still know such a commodity […]
Weekly Spotlight #13: On Dangerous Ground (Ray & Lupino, 1951)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. On tap for this week is another lesser-known noir from the 1950s, lushly directed by the great Nicholas Ray and with uncredited assistance from star Ida Lupino.
Knife+Heart (Gonzalez, 2018)
Yann Gonzalez wants the giallo to make a modern comeback, and honestly? I’m here for it. Knife+Heart revels in all the genre’s sleazy elements, including the impressionistic uses of vivid colour, ambient soundscapes (courtesy of synthpop band […]
Hotel by the River (Hong, 2018)
Hong Sang-soo continues to go from strength to strength as a filmmaker, with his latest offering, Hotel by the River, landing as one of his strongest achievements to date. It sees him testing the limits of […]
Weekly Spotlight #12: Hellzapoppin’ (Potter, 1941)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week, it’s back to the 1940s with our zaniest selection yet: a vaudeville revue that takes audience participation to a whole new level.
Weekly Spotlight #11: The Prime of Miss Jean Brodie (Neame, 1969)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. For our eleventh recommendation, we dip back into academia once more as students everywhere begin their summer holidays, taking a look at an irresistible Muriel Spark story about idolization, predestination, and the crème de la crème: The Prime of Miss Jean Brodie.
The Lonely Film Critic 