A Quiet Place is among the best experiences I had watching a film this year, as it utilized its technical facets with a great amount of intelligence. From the sound design to the cinematography, John Krasinski ensures you […]
The Endless (Moorhead & Benson, 2017)
My somewhat low rating here does not mean that I don’t respect Benson and Moorhead’s ambition. Creating a legible sci-fi tale involving temporal loops and sinister, omniscient forces is not an easy feat, and they […]
Double Lover (Ozon, 2017)
Sorry to rain on any parades, but I’m of the opinion that Double Lover’s trashiness is not of the commendable type. Firstly because the starring role becomes a cipher for a lot of misogynistic impulses, to […]
Christopher Robin (Forster, 2018)
The nostalgia factor on this one is high. I, like many other children, grew up on Winnie the Pooh. I watched the full-length movies, the cartoons, and I’m pretty sure I had a stuffed Pooh […]
Hannah (Pallaoro, 2017)
Andrea Pallaoro’s Hannah is all show and no tell, and that has both benefits and drawbacks. In terms of the latter, it makes it harder for us to really connect with the true predicament of Charlotte Rampling’s […]
Black Panther (Coogler, 2018)
I’ve made it clear in other reviews that I’m no Marvel fanatic, and that their cookie-cutter approach to plot and characterization has becoming maddeningly repetitive with each new entry. It’s so nice, then, to watch […]
Summer 1993 (Simón, 2017)
The impressionistic touches in Summer 1993 are wonderful to behold, and you always know they’re coming from a deep place because of how authentic they feel. The scene in which Frida dresses up and playacts the role […]
Claire’s Camera (Hong, 2017)
Ah, yet another deceptive bonbon from our favourite South Korean auteur. And an odd one, at that, since the soju-drinking is kept to a minimum, and we’re planted in France this time around—more specifically, in […]
Beast (Pearce, 2017)
I liked the idea of Beast more than the execution, which is on the over-stylised side for my taste. All the moody lighting and portentous music distracts from the visceral darkness of the story, and the way […]
Crazy Rich Asians (Chu, 2018)
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.
