“Francesco Sossai’s Other Cannibals is a work of horror-realism so mired in its characters’ misguided meandering that it becomes something else entirely, a stark black almost-comedy of errors about two outcasts trying desperately to sink their teeth into life itself.”
Read More“The big goofy grin you’ll be wearing on your face throughout the runtime, that is pure Spielberg. Scene after scene of this film hits every big emotional beat that you want from a heart-on-its-sleeve, Hollywood production.”
Read MoreIn light of the ForReel team having recently been in Toronto, and in light of Egoyan’s Toronto-set sixth feature being released by the Criterion Collection, I re-investigate the film’s particular brand of erotica.
Read More“Never has the Okanagan looked better—as rich and as lush—as in the frames of Jarvis’ film, Jeremy Cox’s gorgeous 16mm photography giving the area a tactility and a glow that digital simply couldn’t have offered.”
Read More“[T]he performances encompassed in Aronofsky’s film are deeply felt, vulnerable, and searing; the emotions they lay to waste numerous; the awe they command unquestionable.”
Read More“Radcliffe commits with panache a whole 108-minutes worth of manic energy and physicality to screen, a performance liable to leave you feeling the effects of a sugar rush.”
Read More“Bubba Ho-tep is the story of two men at the end of their trails who find they can be of use again; who find one last fight to fight.”
Read More“What truly shines is the film's sound design and score, which create a cavernous aural environ that hits you on a guttural level, and envelops you in feelings of dread and distress.”
Read More“Stevens has taken this premise and really run with it, turning the female revenge flick into a psycho-supernatural-mythological phantasmagoria.”
Read More“The desire and the yearning to be more, to do more, and to be seen and accepted by more people, is a condition that affects all us social beings, and Karaoke reminds us that just because we get older, this desire doesn’t leave us.”
Read More“Machoian and cinematographer Oscar Ignacio Jimnénez work like they have before, relaying their tale via long/medium-wide shots and long takes, their refusal to cut allowing Joe’s follies to go from comical, to tragic, and back again in real time.”
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