Tagged Drama

Weekly Spotlight #10: Desert Hearts (Deitch, 1985)

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. In honour of Pride Month, we turn our focus to the recently-restored lesbian romance Desert Hearts from director Donna Deitch.

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Rocketman (Fletcher, 2019)

I’ll give Rocketman this much: it is a more credible endeavour than its closest antecedent, Bohemian Rhapsody. On the aesthetic front, Rocketman is not as visually shoddy or bogged down by competing artistic visions. Dexter Fletcher had a clear concept in mind and ran with it, whereas with Bohemian Rhapsody he was forced to paste together a film from scraps left behind…

Weekly Spotlight #9: The Browning Version (Asquith, 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. As the current school year comes to a close, we examine the power and pathos of a lesser-known story about student-teacher relationships: Anthony Asquith’s excellent adaptation of Terence Rattigan’s The Browning Version.

Weekly Spotlight #8: Ballad of a Soldier (Chukhray, 1959)

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 introduce you to the Soviet-era war classic Ballad of a Soldier in remembrance of the 75th anniversary of D-Day.

Greta (Jordan, 2018)

Grande Dame Guignol lives on! Maybe not with the same panache as the films from the ‘60s, or the same level of insanity, but a film like Greta is worth it for the camp spectacle alone. Here it is provided to us by an extremely game Isabelle Huppert, playing a spidery widow who leaves expensive-looking purses lying…

Booksmart (Wilde, 2019)

Social media has been abuzz with debates about Olivia Wilde’s debut, from its marketing campaign to its struggle to make gains at the box office to questions about its diversity (or lack thereof). I want to review Booksmart on its own terms, so forgive me if what I write doesn’t substantially contribute to the current discourse. I’d…

Weekly Spotlight #7: Chronicle of a Disappearance (Suleiman, 1996)

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.

Weekly Spotlight #6: I Killed My Mother (Dolan, 2009)

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.

Weekly Spotlight #5: Hotel (Hausner, 2004)

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.

Weekly Spotlight #4: Smithereens (Seidelman, 1982)

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.

Weekly Spotlight #3: Séance on a Wet Afternoon (Forbes, 1964)

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.

Weekly Spotlight #2: Moses and Aaron (Straub & Huillet, 1975)

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.

Hotel Mumbai (Maras, 2018)

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…

Guava Island (Murai, 2019)

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…