Reviews > Film
‘Colossal’, Monsters, TV and You

Among other things, Colossal asks you to consider your own responsibility for what and how you watch.

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‘SHOT!’: A Photographic Tribute to Sex, Drugs, and Rock ‘n’ Roll

Barney Clay’s doc about legendary photographer Mick Rock is a must-see for fans of glam.

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SFIFF 2017: ‘Landline’ - Disfunction and Difficult Transitions in the ‘90s

Landline relishes its '90s setting, focusing on face-to-face interaction over the emotionally isolating communicative technology used today, as a means for exploring larger issues.

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Criterion’s ‘Lone Wolf and Cub’ Includes the Original Six Films in the Series

This series of films about a masterless samurai bent on revenge while protectively raising his son features moments of pastoral silent beauty juxtaposed with quick stylized violence.

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John Waters and the Demented Delights of the Demi-Monde

Multiple Maniacs revels in the importance of unimportant things.

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Fifteen Years Later, ‘Donnie Darko’ Is Still Worth Enduring the Impenetrability

Richard Kelly's debut is as good as it permits itself to be, which is just short of masterful.

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’ Ghost in the Shell’: Sometimes Discovering Your Identity Means Fighting a Spider Tank

This version of the long running franchise focuses on visually dazzling aesthetics and beautifully choreographed action -- and spider tanks.

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The Other Is a Void: Intimacy and Loss in ‘45 Years’

45 Years gently explores the unbridgeable distance that is hidden within intimacy.

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The Politics of Happiness: ‘Kushuthara: Pattern of Love’ and Bhutanese Cinema

In Bhutan's Kushuthara, happiness becomes a pronounced theme, one discussed and conceptualized in emotionally and ethically complex ways.

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In Film as in War, There’s What Remains in Its Wake: ‘Apocalypse Child’

Apocalypse Child is a wonderful slice-of-life drama that thrives in the space between truth and fiction.

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The Not-so-delicate ‘Delinquents’

This is what happens when suburban kids won't behave.

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Jessica Chastain Is Radiant in Hit-and-miss WWII Drama, ‘The Zookeeper’s Wife’

Good-hearted but artistically uninspired, Niki Caro's WWII drama fails to milk its source material for all its dramatic potential.

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The Semblance Structure of Cruelty in Felipe Cazals’s ‘Canoa’

Canoa teeters between an overriding aestheticization of violence and a perverse registering of the real.

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Martin Scorsese Gives His Own Voice to ‘Silence’

Martin Scorsese's quiet religious epic gives a definitive take on a book that thrives in its ambiguity.

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‘The White King’ Boldly Embraces Film as an Incomplete Form

Here are two storytellers that seemingly trust and embrace the cinéliterate audience to extrapolate, to understand, of their own volition.

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Jazz, Loss, and Understanding in ‘I Called Him Morgan’

While exposing the fragments and fault lines of memories, I Called Him Morgan tells the stories of Helen and Lee Morgan. It's also a story of storytelling.

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‘Frantz’ Unfolds Elegantly Into a Haunting Meditation on Xenophobia and Acceptance

Franz Ozon again proves to be a most singular voice in world cinema with this deceptively haunting romance mystery.

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‘Life’: A Mainstream Action Fare or a Ridiculous Monster Movie?

Stylistically, Life owes more of its inspiration to David Cronenberg than Ridley Scott.

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‘Life’: Wait, Haven’t We Seen This Before?

Life disregards its genre predecessor, Alien to the detriment of the film.

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‘Allied’ and the Tired Fumes of Nostalgia

Despite an appealing cast, Robert Zemeckis' WWII romance relies too heavily on its influences and too little on engaging drama.

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The Bubblegum Noir of ‘2064: Read Only Memories’

// Moving Pixels

"Read Only Memories is a bubblegum-happy, brooding and brutal noir about kidnapping, murder, corruption, revenge, and corporate conspiracies.

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