Whenever a filmmaker decides to set their film in black and white, the question has to be asked: Why? The answer may say a lot about how well the overall film works, independent of any cinematography …
‘The Mustang’ Review: A Prisoner and His Horse Tread Familiar Ground | Sundance 2019
In the opening moments of The Mustang, we observe a group of wild horses resting on a sprawling western plain in an almost eery silence. The scene is jolted, however, when a helicopter swoops in to co…
‘Velvet Buzzsaw’ Review: You’re Probably Not Ready for Dan Gilroy’s Arthouse Horror | Sundance 2019
The relationship between critic and art is one fraught with dangers of compromise, hypocrisy, and a cynicism as deep as it is wide. “Art,” of course, applies to film, television, video gam…
‘The Tomorrow Man’ Review: John Lithgow and Blythe Danner Are An Irresistible Odd Couple | Sundance 2019
It’s no exaggeration to insist that John Lithgow is one of the finest actors of our time. He’s proven it endlessly with a fairly consistent, decade-spanning career of TV, film, and theater…
‘Share’ Movie Review: A24’s Latest Melodrama Features a Shattering Debut Performance | Sundance 2019
On its surface, Share (written and directed by Pippa Bianco) resembles a few other notable indie dramas in the way it grapples with modern topics and cultural anxieties, specifically concerning the wa…
‘Fighting with My Family’ Review: A Wrestling Comedy that Doesn’t Pull Punches | Sundance 2019
Paige and her brother Zak (Florence Pugh and Jack Lowden) want nothing more than to be professional wrestlers, to be whisked away from their small town in England and into the throes of Wrestlemania i…
‘The Brink’ Review: Steve Bannon Gets a Reckoning of His Own Making | Sundance 2019
For one year, director Alison Klayman (whose last Sundance film was the wonderful 2012 documentary Ai Weiwei: Never Sorry) followed the work and life of far-right political activist and former Trump a…