My fifth dispatch from the 2022 Sundance Film Festival includes capsule reviews of John Patton Ford’s Emily The Criminal, Juan Pablo González‘s Dos Estaciones, Jamie Dack’s Palm Trees And Power Lines and Tig Notaro & Stephanie Allynne’s Am I OK?
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My fourth dispatch from the 2022 Sundance Film Festival includes capsule reviews of Cooper Raiff’s Cha Cha Real Smooth, Rachel Lears’ To The End, Reid Davenport’s I Didn’t See You There and Nina Menkes’ Brainwashed: Sex-Camera-Power.
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“The early films presented in the HFA series betray little of the bitter gorehound Mou would become. 1969’s I Didn’t Dare Tell You and 1970’s The End Of The Track are gentle, humanist portraits of young people struggling to get by in an uneasy time of economic inequality, reminiscent of the Italian neorealists in their depiction of everyday life.” – WBUR’s The ARTery, 01/26/2022
My third dispatch from the 2022 Sundance Film Festival includes capsule reviews of Phyllis Nagy’s Call Jane, Lena Dunham’s Sharp Stick, Monia Chokri’s Babysitter and Sophie Hyde’s Good Luck To You, Leo Grande.
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My second dispatch from the 2022 Sundance Film Festival includes capsule reviews of Kogonada’s After Yang, Kathryn Ferguson’s Nothing Compares, Christian Tafdrup’s Speak No Evil and Mariama Diallo‘s Master.
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My first dispatch from the 2022 Sundance Film Festival includes capsule reviews of Jesse Eisenberg’s When You Finish Saving The World, Carey Williams’ Emergency, Eva Longoria Bastón’s La Guerra Civil and Maria Maggenti’s The Incredibly True Adventure Of Two Girls In Love.
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“Wilder’s most bracingly unlikeable film since his muckraking 1951 masterpiece Ace in the Hole, which died a similar box office death. It’s a curiously powerful picture, pushing up against the era’s mores and sexual politics in productively uncomfortable ways. You get the sense that the director is not always in control of his material, and that’s why the movie leaves a mark.” – Crooked Marquee, 01/21/2022
“One of the more pointless examples of Hollywood’s fetish for IP strip-mining, this 26-years-later sequel to the winking ‘90s phenomenon surrounds a new cast with a few of your favorite old characters and basically re-enacts the original picture with enough nostalgic nods to give undiscerning viewers obsessed with their own childhoods quote-unquote all the feels.” – North Shore Movies, 01/14/2022
“At once an experiment and a retrenchment. After all, what is Shakespeare’s Macbeth but another of Coen’s beloved noirs? The Thane of Cawdor and his conniving bride commit a stupid crime and spend the rest of the picture compounding its consequences, trying to keep from getting caught as the corpses pile up around them. There are even two idiot hitmen.” – North Shore Movies, 01/14/2022
“Hamaguchi has often cited Cassavates as an inspiration, which makes sense when you see the uptight etiquette as a Japanese equivalent to the American filmmaker’s backslapping bravado. They’re both false fronts that the movies take the time and care to peel away, revealing the roles we play and the emotions roiling underneath everyday life.” – WBUR’s The ARTery, 01/13/2022
SPLICED PERSONALITY 