“Teaming up with screenwriter Lauryn Kahn, [Cave] has spun a contorted tale of modern dating, which throughout its two-hour runtime keeps its unique mélange of horror stewing and always developing new flavours.”
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“The confused in Stroszek are poignantly realized in Herzog’s immigrants, who, as well as battling internal conundrums, are also facing culture shock, discrimination, language barriers, and more.”
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“The French Dispatch […] is as exuberant, whimsical, and meticulous as anything Anderson has produced, while also being chock full of an intoxicating mélange of new tricks.”
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“The Girl and the Spider is a film that feels maddeningly opaque, even though it offers an intimate view behind the walls at daily life.”
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“Reinsve, in a Cannes Best Actress-winning performance, embodies all the tumult of her character’s wild and wavering inhibitions, her angst filtered into pointed attacks as often as it is re-directed inwards.”
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“The In-Laws is a wholly surprising and galvanizing time at the movies, equal parts shock and delight, that is sure to unite crowds in unanimous laughter and applause.”
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“Hansen-Løve’s film […] is a dramatically subdued affair, but one that reveals a flowering complexity through its multi-layered approach to storytelling and its humane ruminations on the islands we forge for creative fulfillment amongst personal disillusionment.”
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“All the Moons is slower-paced vampire fare, and short on the grisly thrills that fans of the genre have come to love, but it is thick with the genre’s intoxicating moroseness, and an almost storybook-like structure with distinct phases.”
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“McKie enlisted real dancers in the Tokyo scene for his film, and it is both exhilarating and enlightening to see how the dance styles of popping, locking, voguing, krumping and more express themselves with Tokyo’s modern hip-hop disciples.”
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“Hotel Poseidon arrives at Fantasia International a mold and muck-ridden disasterpiece of nightmare cinema.”
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“Reece yanks at the strings behind Agnes with devilish glee, and builds upon the chops he earned in his previous two horrors to make Agnes his most spellbinding and formally refined picture yet.”
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