“The most gloriously indecorous entertainment I’ve seen in ages and the hardest I’ve laughed in a movie theater since lord knows when. It’s a non-stop barrage of elementally idiotic behavior, daredevil foolishness and a marvel of ingenuity in the realm of genital trauma. If nothing else, this film is visual testament to the astonishing durability of the male scrotum.” – North Shore Movies, 02/04/2022
“Alastair has a habit of quoting Hamlet, which can’t help but recall Gibson’s own celebrated take on the melancholy Dane, here filtered through the regrets of a character fallen far from the heights of his profession due to demons and drink, working on a hacky project he can’t stand, reciting the gravedigger speech to a classroom of confused preschoolers.” – North Shore Movies, 02/04/2022
“Where Antonioni asked us to embrace the mystery, Franco’s film is about getting answers. Eventually, annoyingly and anticlimactically as possible. We discover that Roth’s relationship with Gainsbourg is not what we’d at first assumed, though the revelation carries next to no weight whatsoever. In fact, the more we learn, the less interesting Sundown becomes.” – North Shore Movies, 02/04/2022
“I suppose you could stream it. But you know how some movies need to be seen on a big screen? The Conversation needs to be heard in an auditorium on the kind of equipment you don’t have at home. It’s an intricately constructed aural experience about the act of listening, and how sometimes our perceptions of sounds are shaped by what we want to hear.” – WBUR’s The ARTery, 02/02/2022
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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