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, to mark the conclusion of the Cannes Film Festival, we put the spotlight on Palestinian filmmaker Elia Suleiman, whose latest film received both a Special Mention and the FIPRESCI Prize for Best Film In Competition.
Black Mother is filmmaker and photographer Khalik Allah’s benediction to his homeland of Jamaica. In his polyphonic and contrapuntal vision, it is a place of many faces and attitudes, with eyes that see the road ahead with sagacity, noses that revel in the scent of the country’s foods and recreations (marijuana included) and mouths that sing…
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, as the Cannes Film Festival continues in France, we take a look at another filmmaker hoping to win the coveted Palme d’Or: French-Canadian provocateur Xavier Dolan, who started his polarizing career with an equally-polarizing film called I Killed My Mother.
Anyone who watches Poms will manage to crack a smile a few times, even if they recognize internally that they’re smiling at shtick that isn’t particularly intelligent. It’s humour that’s meant to be broad and instantly digestible, like one punchline early on that explains why a woman got second place at a talent contest in the ‘50s…
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, as the Cannes Film Festival gets underway, we highlight a past feature from one of the filmmakers competing for this year’s Palme d’Or: Jessica Hausner.
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 we recommend Susan Seidelman’s bracing Felliniesque debut, which is set during the waning years of the New York punk scene.
In this new 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 we unearth a startling mix of crime and horror from the Swinging Sixties, fronted by a memorable Oscar-nominated performance.
In this new 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, to commemorate the Easter-Passover holiday, we check out the lesser-known Biblical adaptation Moses and Aaron from French directing duo Straub-Huillet.
I don’t want to write too much about Hotel Mumbai because I got my fill of it in the theatre and thinking about it after the fact is like a PTSD trigger. On one hand, one can commend Anthony Maras for trying to render the 2008 Mumbai terrorist attacks as authentically as he could, doing extensive research…
In this new 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, our inaugural film is Irving Lerner’s jaunty existentialist noir Murder by Contract.
Last year Janelle Monáe released a conceptual “emotion picture” to act as a thematic and visual supplement to her third studio album Dirty Computer. Now Donald Glover (aka Childish Gambino) is taking a similar approach with Guava Island, an hour-long film directed by frequent collaborator Hiro Murai that gives us a cogent tour of his musical career…
Following on the heels of LGBTQ+ coming-of-age stories like Love, Simon from last year, Giant Little Ones is another film that highlights the struggles queer teenagers face in toxic environments like high school, where latent homophobia and bullying make coming out an almost Herculean task. And so some choose to hide in fear, pretending to be people they’re not…
These Disney live-action remakes are threatening to create more cynics than converts, as we haven’t yet seen one that can stand on its own and make a case for itself. Worse yet, 2019 is going to be inundated with them, and there’s no telling if any will succeed in having artistic merit. Tim Burton’s take…
I have a dim recollection of The Intouchables, the original film on which The Upside is based. I remember liking it for being both heartwarming and funny, but after many years and several hundreds of films later, I would probably look at it more critically if I were to watch it again. Which I won’t, because The Upside is more…
Sorry Spielbergers. I’m not sure I’m the audience for this kind of stuff. I do admire the thoroughness of the VFX work and how wonderfully the different avatars are rendered, and the whole sequence inside The Shining was kind of mind-blowing in how accurately it was all reproduced. We’ve come so far technologically, and as long as…
