Movie Reviews Only

T-Meter Title | Year
91% Saint Maud (2019) Saint Maud's conjuration of wild daylight visions and spiritual torments skilfully blurs the line between a possible medical condition and outright madness, while also slyly suggesting that the film's heroine may in fact be possessed. - Sight and Sound EDIT
Read More | Posted Oct 2, 2019
98% Rojo (2019) Dario Grandinetti's riveting performance as the vaguely menacing yet bureaucratic Claudio is a reminder that repulsive or unfathomable characters can be as fascinating as likable ones. - Hyperallergic EDIT
Read More | Posted Sep 26, 2019
96% The Edge of Democracy (2019) Engrossing... - NPR EDIT
Read More | Posted Jun 20, 2019
88% Scary Mother (2017) Scary Mother proves delightfully off-kilter, the dead seriousness of the social setting and the family conflict pierced by humorous or absurdist moments. - Cinema Scope EDIT
Read More | Posted Feb 14, 2019
92% Cold War (Zimna wojna) (2018) Poland has seen more than its share of war, and of the art and cinema of exile. Pawel Pawlikowski's latest feature, Cold War, is a spirited albeit flawed entry in this category. - Film Comment Magazine EDIT
Read More | Posted Jan 18, 2019
100% The Chronicle of Anna Magdalena Bach (1968) While the film is mostly focused on the music and the settings in which it was originally played, Anna Magdalena's voice guides us, providing the film's peculiar, illusive texture. - Hyperallergic EDIT
Read More | Posted Nov 6, 2018
92% Life and Nothing More (La Vida y Nada Más) (2018) Esparza's vision of motherhood, as a fortress whose foundations must hold even on the shakiest of grounds, pulls us into a soaring emotional tide, and keeps us entranced, marveling at Williams's talent and charm as a non-professional actor. - Hyperallergic EDIT
Read More | Posted Nov 6, 2018
89% On Body and Soul (A Teströl és Lélekröl) (2018) There is a real tinge of sadness to On Body and Soul, which serves as a quaint allegory on dating in the age of Tinder: a hint that visiting mysterious strangers in our dreams is at times as close we get to intimacy. - Hyperallergic EDIT
Read More | Posted Nov 6, 2018
83% A Woman's Life (Une vie) (2017) The narrative is suffused with subtle yet piquant moral commentary. - Brooklyn Magazine EDIT
Read More | Posted Aug 7, 2018
68% All These Sleepless Nights (2017) Throughout, what makes All These Sleepless Nights distinct, beyond the three protagonists philosophical, artistic musings and their charisma, is the camera's ability to convey the state of intoxication and the dreaminess of the nocturnal juvenilia. - Brooklyn Magazine EDIT
Read More | Posted Aug 7, 2018
88% The Death of Louis XIV (La mort de Louis XIV) (2017) In the final scenes,... the painterly mise-en-scene and cinematography - golden and ochre hews, Venetian reds, soft camera focus and the glowing whiteness of doctors' caftans, illumined by multiple light sources a la Vermeer - turn death into a feast. - Frieze EDIT
Read More | Posted Aug 7, 2018
96% The B-Side: Elsa Dorfman's Portrait Photography (2017) Elsa Dorfman's work is ephemeral yet grand: using a giant 20" x 24" camera, that is now discontinued, Dorfman has produced some of the world's largest Polaroid images, showing that unwieldy technology does not need to be limiting when used imaginatively. - Frieze EDIT
Read More | Posted Aug 7, 2018
55% The Human Surge (El auge del humano) (2017) Williams sympathizes with his protagonists, though his film is too fluid and keen on catching the quirkiness of everyday speech and capturing languid moods to act as agitprop. - Frieze EDIT
Read More | Posted Aug 7, 2018
100% La Camioneta: The Journey of One American School Bus (2013) Kendall makes his documentary memorable by resisting the urge to give crime center stage. Instead he focuses on the lives being quietly and doggedly built, even if at a great risk. - Guernica EDIT
Read More | Posted Aug 7, 2018
100% The End of Fear (2018) What of art then? Is its thrill ever about aesthetics alone? This question is just one of many raised by Barbara Visser's smart, approachable, and entertaining documentary The End of Fear. - Reverse Shot EDIT
Read More | Posted Aug 7, 2018
No Score Yet Ghost Hunting (Istiyad Ashbah) (2017) [It's] ultimate point [is] in the nuances -- the surplus of contradictory feelings, the dark humor, the contextualizing, the bodily language, and finally the words. All these make the film's final impact far more complex than one would assume. - Reverse Shot EDIT
Read More | Posted Aug 7, 2018
No Score Yet Railway Sleepers (Mon Rot Fai) (2017) The result is beguiling: a lullaby of sorts, it seduces with its rhythm, while every once in a while, a sudden, odd flash stirs us to alertness. - Reverse Shot EDIT
Read More | Posted Aug 7, 2018
71% Uncertain Terms (2015) His latest film and fourth feature, Uncertain Terms, is perhaps Silver's most mature depiction of imperfect love to date. - Reverse Shot EDIT
Read More | Posted Aug 7, 2018
No Score Yet Org (1979) A kaleidoscopic behemoth of a film. - Village Voice EDIT
Read More | Posted Jul 23, 2018
65% Faust (2013) Sokurov's [Faust] has a distinctly human scale, yet he flattens the tale's meaning. - Reverse Shot EDIT
Read More | Posted Apr 11, 2018
88% Post Mortem (2012) Post Mortem is only Larraín's second feature, but he has already proven a distinct style-an unmistakable deadpan-and an interest in political and personal utopias. - Reverse Shot EDIT
Read More | Posted Apr 11, 2018
No Score Yet Bitter Seeds (2012) Bitter Seeds is one of those rare films whose storytelling economy is matched by visual eloquence. - Guernica EDIT
Read More | Posted Apr 11, 2018
20% Northeast (2012) Northeast never finds enough direction, or gathers enough oomph, to leave a lasting impression. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
94% Ouwehoeren (Meet the Fokkens) (2012) A prostitute's sexual freedom is a fiction; though this isn't news, the film confronts the issue with rawness and panache. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
No Score Yet Ricky on Leacock (2012) Weiner seems star-struck, and treats viewers to too many chats over home-cooked dinners and film-award ceremonies. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
93% Farewell, My Queen (2012) It might be that Marie still waits for a true incarnation, but Jacquot's pushing her beyond likeability is refreshing. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
59% The Woman in the Fifth (2012) It is a pity that Pawlikowski abandons his quietly haunting impressionism in the film's more literal second half. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
89% Gerhard Richter Painting (2012) Shows the process behind Richter's fancy free abstract paintings, but leaves the greater forces and themes that make him not only a famous or a rich painter but an important one unexamined. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
81% Putin's Kiss (2012) It does deliver a forceful message: the fight for the young Russians' hearts and minds is far from over. - The L Magazine EDIT
Read More | Posted Apr 11, 2018
88% Vazante (2018) Thomas implausibly upholds the romantic trope of a doomed heroine. - Film Comment Magazine EDIT
Read More | Posted Jan 3, 2018
88% That Most Important Thing: Love (L'important c'est d'aimer) (1975) Zulawski's fluid, roving camera, favoring medium shots and close-ups, and accompanied by Georges Delerue's full-throated score, is so attentive to every pang, twinge, or slightest hint of agony that it seems to expose the characters' every nerve. - Film Comment Magazine EDIT
Read More | Posted Jul 11, 2017
80% The Woman Who Left (Ang babaeng humayo) (2017) The film is a story of solidarity and redemption, and its main strength is a panoramic vision of the Philippines' socioeconomic woes. - Village Voice EDIT
Read More | Posted May 16, 2017
74% We Are the Flesh (Tenemos la carne) (2017) Emiliano Rocha Minter evokes human desire, unfettered by social mores, as the supreme expression of all the world's evil. - Slant Magazine EDIT
Read More | Posted Dec 12, 2016
85% Antiporno (Anchiporuno) (2017) Cruelty, masochism, parental abuse (in the painter's flashbacks) and schadenfreude of all kinds fuel this feverish op-art dream that turns on us at every corner. - Slant Magazine EDIT
Read More | Posted Dec 12, 2016
92% Demon (2016) For a tale of repressed guilt, Demon sparkles with humor, reveling in the macabre. - Film Comment Magazine EDIT
Read More | Posted Sep 26, 2016
3/4 91% Neither Heaven nor Earth (Ni le ciel ni la terre) (2016) Shot on digital video and emblazoned with such impressionistic effects as the visions captured by a night-vision camera, Neither Heaven Nor Earth is a contemporary ghost story that's both unabashedly mystical and thrillingly pulpy. - Slant Magazine EDIT
Read More | Posted Jun 29, 2016
84% Mia Madre (2016) The film is a carefully measured and satisfying, albeit occasionally deaf-tone, suite of fleeting, dispersed impressions. - Slant Magazine EDIT
Read More | Posted Sep 27, 2015
100% Something Better To Come (2015) With a few painterly strokes, Hanna Polak's camera powerfully evokes the dump's hellish dimension. - Slant Magazine EDIT
Read More | Posted Jun 5, 2015
3.5/4 100% The Vanquishing Of The Witch Baba Yaga (2014) The film becomes akin to variations on a theme, executed with visual finesse, and enhanced by its many rich textures. - Slant Magazine EDIT
Read More | Posted Oct 12, 2014
3/4 96% Burning Bush (2014) The decentralized narrative benefits from the film's original conception as a miniseries, with plenty of time to draw us into the morass that was the communist state. - Slant Magazine EDIT
Read More | Posted Jun 8, 2014
3.5/4 86% Soft In The Head (2014) Nathan Silver captures the young-adult experience, particularly the agony of first sexual pangs, in films that deftly mix beguilement and repulsion. - Slant Magazine EDIT
Read More | Posted Apr 17, 2014
3/4 76% Nymphomaniac: Volume I (2014) But whereas female sexuality was borderline vampiric in Antichrist, this time we're in more ambiguous, contextually richer terrain, where desire is complicated not only by love, but also by a deep need for self-determination, and pride. - Slant Magazine EDIT
Read More | Posted Mar 16, 2014
67% Papusza (2014) Papusza is at its most enthralling in some of the flashbacks, where we glimpse the heroine as an agent of her own fate. - House Next Door EDIT
Read More | Posted Feb 21, 2014
2.5/4 83% Aftermath (Poklosie) (2013) The film isn't so much about the moral atrophy of people who refuse to come to terms with their past as it is about cosmic karma passed from fathers to sons like an ancient curse. - Slant Magazine EDIT
Read More | Posted Oct 28, 2013
3/4 85% Abuse of Weakness (2014) Catherine Breillat's scripting of Maud as fatally distant from her family, willfully independent, but more believably abandoned, is haunting. - Slant Magazine EDIT
Read More | Posted Oct 1, 2013
96% The Last of the Unjust (2014) Claude Lanzmann's film doesn't so much strive to elucidate the Shoah as to draw us into its infinite moral complexities. - Slant Magazine EDIT
Read More | Posted Sep 18, 2013
2.5/4 72% American Promise (2013) The documentary's lack of a cohesive thesis may frustrate at times, but its power lies in its exposition of the mundane. - Slant Magazine EDIT
Read More | Posted Sep 15, 2013
2.5/4 64% Far From Vietnam (Loin du Vietnam) (1967) Most problematic is the way in which the Vietnamese are romanticized, as if they had not fought for their livelihoods and land, visceral and specific, but for ideals alone. - Slant Magazine EDIT
Read More | Posted Aug 24, 2013
No Score Yet Róza (Rose) (2011) Wojciech Smarzowski's film is at times so brutal that its more tender touches can startle. - House Next Door EDIT
Read More | Posted Apr 26, 2013
2.5/4 63% Philip Roth: Unmasked (2013) In spite of the film's exhaustive chronology, those who deduce from its title that they're in for an unveiling, or an unraveling, of a major literary figure may come out empty-handed. - Slant Magazine EDIT
Read More | Posted Mar 13, 2013