I saw Crazy Rich Asians last night [August 28], and oddly very little is sticking with me apart from the wedding service soundtracked to “Can’t Help Falling in Love,” which I’ll admit was moving and sweet. The […]
Support the Girls (Bujalski, 2018)
I love that this is a love letter to working-class women like Regina Hall’s Lisa: women who carve out careers in the hospitality industry and put up with a shit load of racism and misogyny […]
Won’t You Be My Neighbor? (Neville, 2018)
I remember seeing snippets of Mister Rogers’ Neighborhood when I was young. I didn’t catch it in its entirety because I was at school when it aired, but I remember finding it so serene. Fred Rogers had […]
Three Identical Strangers (Wardle, 2018)
This is the kind of documentary film you’d show to a university data methods class while rapping the desk with a pointer and shouting ETHICAL STANDARDS MATTER. It’s pretty much how Wardle goes about setting […]
The Wife (Runge, 2017)
Stories about declining marriages have been told for eons, and it’s no different in film. It seems like every week we get a new take on the “marriage in crisis” genre, and The Wife is one more […]
Raw (Ducournau, 2016)
After letting Raw sit with me for a while, I’ve come to admire it more than actually love it.
The Meyerowitz Stories (New and Selected) [Baumbach, 2017]
Even though The Meyerowitz Stories lacks the magic of Frances Ha or the emotional import of The Squid and the Whale, it still manages to justify its existence by veering off the beaten path—even if just slightly.
Princess Cyd (Cone, 2017)
I urge you all to seek this out as soon as possible. It is one of those obscure achievements that deserves all the attention it can get.
Coco (Unkrich, 2017)
Like much of the Pixar canon, Coco is a universal film that reaches the hearts of both children and adults alike.
Columbus (Kogonada, 2017)
Columbus reminds me of Jim Jarmusch’s Paterson mixed with sprigs of Linklater’s Before trilogy and Sofia Coppola’s Lost in Translation.
Logan Lucky (Soderbergh, 2017)
Not having seen Ocean’s Eleven or its sequels, I don’t have much of a basis to make comparisons here. I know this is a heist film and a comedy, and that’s as much as I have to judge.
All These Sleepless Nights (Marczak, 2016)
All These Sleepless Nights is a weird hybrid of documentary and artifice, dealing with real Polish youth and their restlessness
Beach Rats (Hittman, 2017)
This isn’t 2017’s best LGBTQ film. But in its own way, it provides a striking counterpoint to the stories that seem more hopeful in nature.
The Room (Wiseau, 2003)
Everything about this is inept and misjudged.
Manifesto (Rosefeldt, 2015)
Cate Blanchett plays over a dozen characters, takes on half as many accents, gets to wear some great (and not so great) wigs.
The Lonely Film Critic 