AWFJ Women on Film

AWFJ Women on Film is not a Tomatometer-approved publication. Reviews from this publication only count toward the Tomatometer when written by the following Tomatometer-approved critic(s): Alexandra Heller-Nicholas, Betsy Bozdech, Cate Marquis, Courtney Howard, Jen Yamato, Joanna Langfield, Leslie Combemale, Loren King, Maitland McDonagh, MaryAnn Johanson, Sandie Angulo Chen, Sarah Knight Adamson, Susan Granger, Susan Wloszczyna
Rating Title/Year Author
Serendipity (2019) Loren King This personal and profound film is a great introduction to a singular creative force and fascinating person. EDIT
Posted Oct 22, 2019
Above the Shadows (2019) Leslie Combemale Above the Shadows is an interesting journey that is well worth taking. EDIT
Posted Oct 17, 2019
4.5/5 Dilili à Paris (2018) Leslie Combemale It is both an old story, and one that we must continue to tell. EDIT
Posted Oct 17, 2019
Female Pleasure (2018) Loren King #FemalePleasure is a powerful and inspiring documentary that everyone should see, but it is essential viewing for younger audiences who offer the hope of change. EDIT
Posted Oct 14, 2019
4/5 Saudi Women's Driving School (2019) Leslie Combemale The documentary, which got unprecedented access to film inside Saudi Arabia, shows not only the women thrilled to be finally driving, but also female activists still trapped in jail. EDIT
Posted Oct 14, 2019
Climate of the Hunter (2019) Alexandra Heller-Nicholas Climate of the Hunter never sacrifices its smarts for fun (or vice versa), but with its dazzling visuals and hypnotic descent downwards into a seemingly inevitable chaos, the film's delights are ultimately as sensorial as they are intellectual EDIT
Posted Oct 11, 2019
Little Joe (2019) Alexandra Heller-Nicholas A deliberately clinical, even cold film about the horror of synthetic happiness, Little Joe is an impressively stylish film that puts the demands of idealized happiness under the microscope in uncomfortable, disturbing ways. EDIT
Posted Oct 4, 2019
() Alexandra Heller-Nicholas Pelican Blood is one of the year's most fearless films, not merely because of what it dares to tackle subject-wise, but how determinedly it adheres to its own free spiritedness right until its very final moments. EDIT
Posted Oct 4, 2019
() Alexandra Heller-Nicholas Simple Women is ultimately a moving and intelligent exploration not of the phenomenon of stardom itself, but of the complex mechanics that underpin our own capacity to invest such deep emotional feeling into the act of being a fan. EDIT
Posted Sep 29, 2019
Radioactive (2020) Alexandra Heller-Nicholas Compelling, creative, thoughtful and undeniably beautiful, Radioactive confirms Satrapi's status as one of the most original and important filmmakers working today. EDIT
Posted Sep 21, 2019
() Alexandra Heller-Nicholas Disco is a riveting film about being denied support by those who feign to offer it but fail, and the opportunities available to a young woman whose options are limited and shrinking rapidly. EDIT
Posted Sep 21, 2019
Saint Maud (2019) Alexandra Heller-Nicholas Saint Maud is driven by a powerful performance by Clark, and on all counts a comfortable contender for horror film of the year. EDIT
Posted Sep 21, 2019
Zombi Child (2019) Alexandra Heller-Nicholas Zombi Child is a dense, intelligent film that soars by combining a robust critique of colonialism (both in its past and present manifestations) with a moving coming-of-age story about a young Haitian girl a long way from home. EDIT
Posted Sep 14, 2019
3/5 Tattoo Uprising (2019) Leslie Combemale Tattoo Uprising offers a look into the recent past with a young Ed Hardy, and a wizened Stoney St. Clair, and auteur Werner Herzog in tat-displaying mode. EDIT
Posted Sep 12, 2019
Sorry We Missed You (2019) Alexandra Heller-Nicholas Sorry We Missed You is marked by a determined vision to reveal the abuses, exploitations and humiliations rife in the contemporary British labor market for those who struggle to survive on its outskirts, and he does so with immense compassion EDIT
Posted Sep 12, 2019
Human Capital (2019) Loren King Oren Moverman's screenplay is smart and absorbing and director Marc Meyers handles the non-linear structure with skill. EDIT
Posted Sep 11, 2019
Bacurau (2019) Alexandra Heller-Nicholas Bacurau is a wild, weird ride, and while maybe not for everyone its fearless politics is strengthened by its filmmakers' determinedly playful approach to genre experimentation. EDIT
Posted Sep 8, 2019
Dolor y gloria (2019) Alexandra Heller-Nicholas With Pain and Glory Almodóvar and Banderas remind us just how magical and enduring their professional relationship - past and, we can only hope, future - has been. EDIT
Posted Sep 6, 2019
Alien Crystal Palace (2018) Alexandra Heller-Nicholas Alien Crystal Palace functions beyond binaries of good and bad film, of high and low art. Dombasle instead demands we marvel at the magic of the moving image itself EDIT
Posted Sep 5, 2019
Parasite (2019) Alexandra Heller-Nicholas The success of Parasite is not merely marked by great filmmaking and an intriguing storyline, but deep within its foundations lies an overwhelming understanding on Bong's part of how bigotry operates at an almost molecular level. EDIT
Posted Sep 5, 2019
Portrait of a Lady on Fire (2019) Alexandra Heller-Nicholas A film for the senses as much as the mind and heart, Portrait of a Lady on Fire continues to solidify Sciamma's status as one of the most exciting and accomplished filmmakers working in Europe today. EDIT
Posted Sep 5, 2019
5/5 Tigers Are Not Afraid (2017) Leslie Combemale When Issa Lopez's Tigers Are Not Afraid is not busy scaring you, it's breaking your heart. Social activism meets horror meets coming-of-age in this intense, gorgeously shot film. EDIT
Posted Sep 4, 2019
Tigers Are Not Afraid (2017) Loren King It's a bold and ambitious choice to depict horror and trauma not just through documentary realism but through magical realism. EDIT
Posted Sep 3, 2019
Little Monsters (2019) Alexandra Heller-Nicholas Abe Forsythe's sophomore feature Little Monsters is a gift. EDIT
Posted Aug 27, 2019
After the Wedding (2019) Loren King Despite turns into predictability and sentimentality, Moore and Williams never disappoint, especially in their showdown scene. Davis and Astor would be proud. EDIT
Posted Aug 19, 2019
Adam (2019) Alexandra Heller-Nicholas Adam is an intimate, confident portrait of a friendship that blossoms in a social context where shame and social acceptance dominate how women see themselves and others. EDIT
Posted Aug 10, 2019
Luz (2018) Maitland McDonagh Luz is a tight, sharp little shocker that works well on its own terms and suggests that Singer is a filmmaker to watch. EDIT
Posted Aug 8, 2019
The Nightingale (2018) Loren King "The Nightingale" is visceral and powerful; it's a memorable, accomplished, gut-wrenching film that's not for the squeamish or those super-sensitive to graphic violence onscreen. EDIT
Posted Aug 5, 2019
4/5 Geek, and You Shall Find (2019) Leslie Combemale This passion project is a reminder, especially to those who want to "keep their politics out of comics", that Superman, Captain America, Wonder Woman are all social justice warriors. EDIT
Posted Aug 2, 2019
Riot Girls (2019) Alexandra Heller-Nicholas A queer teen love story told through the lens of the dystopian gang warfare trope, Riot Girls is often visceral and consistently high-energy. EDIT
Posted Jul 31, 2019
Above the Shadows (2019) Cate Marquis You just have to go with it, but Above the Shadows will reward you for that journey. EDIT
Posted Jul 26, 2019
3/5 Tell It to the Bees (2018) Leslie Combemale Tell it to the Bees is ultimately a love story, and Grainger and Paquin make it a good one. EDIT
Posted Jul 24, 2019
For Sama (2019) Leslie Combemale It is gut-wrenching but essential viewing. EDIT
Posted Jul 24, 2019
3.5/5 We Have Always Lived in the Castle (2018) Leslie Combemale Director Stacie Passon buoys up what the writing and acting do to create very complicated people, each who might be more angel or more devil, more victim or more perpetrator. EDIT
Posted Jul 24, 2019
Knives and Skin (2019) Alexandra Heller-Nicholas Knives and Skin is not just visually captivating, but also marked by an emotional intelligence and dark humor that renders it one of the year's most unique cinema experiences. EDIT
Posted Jul 22, 2019
Sadako (2019) Alexandra Heller-Nicholas While not repeating the now rather dusty Ringu 'curse' formula in the way we have come to expect, Sadako still provides enough call backs to the broader mythology and iconography established in the first film to simultaneously provide franchise coherency EDIT
Posted Jul 22, 2019
For Sama (2019) Loren King If not turning away is how we must confront the violence, inhumanity and senselessness of war, this brutal, heart-wrenching film is essential viewing. EDIT
Posted Jul 22, 2019
Rosie (2018) Loren King Doyle and Breathnach don't preach or moralize; they've told a complicated story with elegant simplicity. EDIT
Posted Jul 15, 2019
Above the Shadows (2019) Loren King There are plenty of contrivances and an ending that is a bit of a head-scratcher but Myers manages the rare feat of examining profound grief and monumental loss in novel, touching way. EDIT
Posted Jul 15, 2019
The Cat Rescuers (2018) Maitland McDonagh But the work of the women and men chronicled in this film is heartening... It's Faulknerian: They endure. EDIT
Posted Jul 8, 2019
Ophelia (2018) Loren King (Naomi) Watts is juicily over the top as Gertrude, delivering complexity and providing a twist on these famous tragic figures. EDIT
Posted Jul 1, 2019
5/5 The Queen (1968) Leslie Combemale Not least for the must-see jaw-dropping bitch-fest scene courtesy of Crystal LaBeija, who was later indelibly captured in 1990's Paris is Burning, this film is truly a priceless cinematic artifact of LGBTQ and film history. EDIT
Posted Jun 30, 2019
Varda by Agnès (2019) Alexandra Heller-Nicholas Varda By Agnès is a sprawling, wandering film that reveals how the seemingly different strands of our lives can diverge, intersect, vanish and return. EDIT
Posted Jun 28, 2019
Daniel Isn't Real (2019) Alexandra Heller-Nicholas Daniel Isn't Real reveals that at its best, horror can depict with crystal precision experiences, feelings and sensations that are often very difficult to articulate in any other way. EDIT
Posted Jun 25, 2019
Holy Lands (2018) Loren King The movie is all over the place, with tones that shift from melodrama to black comedy. But the performances from a veteran cast led by James Caan make it worthwhile. EDIT
Posted Jun 24, 2019
The Wedding Guest (2018) Alexandra Heller-Nicholas The Wedding Guest has all the right pieces there but fails to pull together into quite the finished product the high standards of its individual components suggest. EDIT
Posted Jun 23, 2019
Our Time (2018) Alexandra Heller-Nicholas Less the self-indulgent circle jerk some have accused it of being than an expose on the potential hypocrisy of supposedly woke, progressive masculinity, Our Time is as much a critique as it is a potential confession. EDIT
Posted Jun 22, 2019
Ghost Light (2018) Loren King The lively finale delivers a satisfying twist that honors both theater tradition and haunted tale. EDIT
Posted Jun 19, 2019
Animals (2019) Alexandra Heller-Nicholas A film about presence, identity and change, Animals is a victorious celebration of life's often unexpected complications. EDIT
Posted Jun 12, 2019
A Dog Called Money (2019) Alexandra Heller-Nicholas Despite the scale of its vision it is difficult to not see A Dog Called Money as preaching to the converted on some level; the film is unlikely to appeal to anyone who hasn't already made a connection with Harvey and her work previously. EDIT
Posted Jun 12, 2019