Reviews > Film
‘A Year in Champagne’ Is All Fruit and No Acidity

There's plenty of dazzle but little depth in this champagne documentary.

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‘Charlie’s Country’ Remembers and Lives Australia’s Tragic Colonial Past

Through a subtle script, exceptional acting, and brilliant cinematography, Charlie’s Country shows how the steady erosion of one individual’s autonomy illuminates an entire nation’s past.

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‘It! The Terror from Beyond Space’ Stars the Alien Before ‘Alien’

You may wonder why the final solution to killing the creature didn't occur to them earlier.

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Even the Rock Can’t Save ‘San Andreas’

What Dwayne Johnson does best, probably better than anyone else right now, is to draw attention to the absurdity and impossibility of himself.

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‘Gemma Bovery’ Is Just a Woman Trying to Be Happy

To viewers, the eponymous Gemma Bovery is an object to feel something about, rather than a being capable of feeling in her own right.

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With His Latest Film, Cameron Crowe says ‘Aloha’ to His Past and to Success

This is like watching the parts of a movie wait for a reason to exist. We don't care if the players find passion or just sit around, eating poi.

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‘San Andreas’ Gets Caught Between the Rock and a Hokey Place

Overloaded with CG eye candy and clichéd dialogue, this is a basic B-movie with blockbuster F/X.

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‘It! The Terror From Beyond Space’ Is Just a Guy in a Rubber Suit

This classic if dated antecedent of Alien looks good on Blu-ray, but considering its influence it deserves much more than this bare-bones release.

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You Don’t Need ‘The Man With X-Ray Eyes’ to See That Roger Corman’s Film Is Dated

The Roger Corman B-movie classic is still something to see.

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Cannes 2015: ‘Saul Fia’, ‘Mon Roi’, and the Politics of Award-Giving

Whereas Son of Saul represents the advancement of cinematic language, Mon Roi encapsulates the politics of selection and award-giving at Cannes.

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‘Leviathan’ Is a Kafkaesque Nightmare in Russia

Combine Orson Welles’ The Trial with Stanley Kubrick’s Dr. Strangelove, throw in some nods to Job and Thomas Hobbes, and you get Leviathan.

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Cannes 2015: ‘The Lobster’ and ‘Louder Than Bombs’ Are Distinctive English-Language Debuts

Yorgos Lanthimos and Joachim Trier made distinct impressions with their English-language film debuts at Cannes 2015; the former with savage satire, the latter with absorbing family drama.

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The Viewers Are the Only Ones in Pain in ‘Fifty Shades of Grey’

Christian Grey refers to his playroom as "the Red Room of Pain". If he really wanted to inflict torture on people, he'd show them Fifty Shades of Grey.

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Cannes 2015: ‘Love’ and ‘Youth’ Amp Up the Sex at the Festival

Both Gaspar Noé's Love and Paulo Sorrentino's Youth explore sexual desire, but they take very different approaches.

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The Ghosts of ‘Poltergeist’ Can’t Spook Technology

There's lots of tech on display in this remake of 1982's Poltergeist, but the script sure doesn't know how to grapple with it.

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Cannes 2015: ‘Dheepan’ and ‘The Lobster’ Depict Different Kinds of War

Two movies screening in competition at Cannes, Dheepan and The Lobster, consider very different sorts of war, between hardcore gangs and between life aspirations.

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Cannes 2015: Women Resist Their Masters in ‘Sicario’ and ‘The Assassin’

Both Sicario and The Assassin tell the stories of women embroiled in conflict: in the former, the drug war; in the latter, the courts of ninth-century China.

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‘Tomorrowland’ Is a Future That’s Past

In loving a future that used to be "better", Tomorrowland is predictably incoherent. It wants an old future, one that's long gone.

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Cannes 2015: ‘Mediterranea’ Explores African Migration to Italy

Evoking De Sica, Denis, and the Dardennes, Jonas Carpignano’s film Mediterranea is a humane and visceral portrait of African migration to Italy.

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“Kiss Me, Stupid” Is a Sex Comedy That Follows Up on Its Tease

Kiss Me, Stupid dares to suggest that middle-class Americans, just like the ticket buyers, might not be as sexually upright as they're cracked up to be.

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Kiasmos: 26 May 2015 - Rough Trade NYC (Photos)

// Notes from the Road

"Kiasmos is the exciting, dark and trippy electronic project from Ólafur Arnalds and Janus Rasmussen.

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