The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
Per usual, a considerable amount of this year’s selections are carryovers from Toronto and Park City.
The case of Sacco and Vanzetti haunts us to this day when immigrants continue to be scapegoated by our nation’s politicos.
Fay Grim is no fool, and as played by Parker Posey, she’s one marvelous creation.
The violence in Lonely Hearts is prettily lingered over and weightless.
What is the purpose of Headspace and for whom has it been designed?
Given the already impossibly low standards of The Teenage Mutant Ninja Turtles franchise, the worthlessness of this new CGI adventure isn’t surprising.
The mythic and the absurd collide in Ivan Vyrypaev’s Euphoria, every sun-burnished image of which is calculated for maximum, eye-popping effect.
The Hawk Is Dying’s central object may live to be airborne, but this dud never once manages to fly.
Lionel Baier recreates and embellishes personal memories in some sort of vanity project run amok.
Dead Silence is but one more stake driven into the heart of a genre being continuously deprived of its rich heritage.
First Snow is a fate-obsessive film that would nearly register as existential were it not so resolutely low-key.
El Custodio is almost pathological in its compositional marginalization of its protagonist.
Audience of One is the documentary as hands-off science project.
A tongue-in-cheek take on Hollywood action films, Hot Fuzz operates off a series of contrasts.
Western charity for third-world natives comes under fire in Shelter, yet what truly deserves scorn is Marco Simon Puccioni’s pedantic and implausible storytelling.
Evanescence is an integral part of cinema, and no other director captured it as lyrically and yet as savagely as Max Ophüls.
Chris Rock remakes Eric Rohmer’s Chloe in the Afternoon, and it’s not as big a stretch as it sounds.
Denis Dercourt’s The Page Turner is a French thriller without a single thrill.
Though not the best film version of Bizet’s famous opera, Mark Dornford-May’s Berlinale-winner may be among the most loyal.
I was in awe of his ability to keep his shit together given the inanities that came out of the mouth of the opposing talking head.