Tim Sutton is a deft cartographer of how environments can shape its inhabitants.
The film knots several strands of new-millennium despair into something that very nearly approximates greatness in its first half.
Tim Sutton’s film often surprises on the micro level, but its broader execution gives reason for pause.
National tragedies are touchy podiums for artistic license, so it’s rare for a work that flexes its creativity responsibly.
The film’s music is the city itself as well as a subtle suggestion that Tim Sutton’s own digital cinema is just as elusive and intangible as Willis’s unwavering sense of dissatisfaction.
Tim Sutton’s Pavilion is, at least in part, a film of comfortable silences.
“Single Ladies” is all-hook, moving from one high-energy Beyoncé shout to another, never really letting up.