Sophia Takal’s remake elides the thorny, complicated nature of the original’s sexual politics.
The film undermines the unity of its characterizations, redirecting into garish phantasmagoria.
It all climaxes in a literal wrestling with the self that suggests a character finally grasping her own limits as an actress.
Lawrence Michael Levine’s Wild Canaries occupies a sweet spot between the self-aware and taut.
Michael M. Bilandic deftly captures the arrogance and despair of New York artists in their efforts to succeed in a decadent world that forces them to produce inherently epigonic work.
Dashiell Hammett meets Woody Allen’s Manhattan Murder Mystery in Lawrence Michael Levine’s Wild Canaries.
Throughout, Joe Swanberg connects Generation Y’s fetish for past pop-cultural kitsch to its attending sexual insecurities.
In Joe Swanberg’s disaffected little film, the drama is never explicit, or even fully conscious.
Jeff Lipsky’s films take place in an alternate universe of human behavior.
V/H/S is a collection of tales of gender warfare that are scattershot, tasteless, and occasionally quite frightening.
V/H/S exudes, sometimes extraordinarily, a neophyte’s sense of courage and cluelessness.
Green works as a tale of the losses and gains that can come from that which we cannot account for.
The film is a modest affair, shot on high-definition digital video around a small set of Manhattan apartments, city streets, and postproduction facilities.
To get an idea of A Separation’s thematic scope, imagine a slow moving avalanche that starts with a single bad decision.
Green contains enough skill and vision to suggest possible triumphs ahead.
A steady mixture of passive-aggressive cynicism and unearned togetherness mark the film with a dark streak of indulgence.