Reviews and coverage from major film festivals including Sundance, SXSW, SIFF, TIFF, and Cannes— the best and the rest of festival cinema.
Michael Fassbender is a welcome addition to any film marque – independent or otherwise. From the jaguar-like way he carries himself to the silky, chop salad baritone of his voice, his dangerous presence is inimitable and essential (even through a paper-machie helmet.) Like the great Western heroes of lore, he saunters on spurs, a meaty...
Metaphysical bodysnatching from the POV of the snatcher, Advantageous is a soft sci-fi-drama centered around a cool idea but repeatedly undone by shoddy execution, unconvincing performances and dreadful FX. Commendable though Jennifer Phang‘s mother-daughter relationship study might be in the context of Sundance’s overabundance of father-son sagas, Phang is able to capitalize on the maternal...
Success and honesty have become diametrically opposed forces in 99 Homes, a one-percenter housing thriller that pits a wolf of real estate in the form of an e-cigarette munching Michael Shannon against a hardworking everyman day laborer (Andrew Garfield). Money though is a powerful drug. Opulence, an even purer form of intoxicant. And as Dennis...
Leslye Headland arrived on the cinematic scene in a roundabout kind of way. Her debut film Bachelorette divided audiences -Reelview’s James Berardinelli gave it zero stars and labeled it “the worst movie of 2012” (we gave it a soaring review) though it’s gone on to achieve a quiet cult status. Originally written as a screenplay...
Socially awkward black comedy with occasionally explosive moments of understated humor, The Strongest Man is Kenny Riches‘ follow-up to Must Come Down and his first big festival debut. His surgically shrewd examination of two nobodies stewing in the melting pot of Miami presents a deep and thoughtful metaphysical exploration of life as alien experience with...
James White is a revealing ailment drama fastened by excellent performances and as smothered in bathos as cafeteria nachos are in fluorescent cheese. Marking the writing/directing debut for longtime Borderline Films producer Josh Mond, this nuclear family implosion bespeaks a turning point for the genre-leaning studio. In the wake of such cerebral thriller vibes of...
There’s a flicker of hope early on in Reversal. A scuzzy captive batters her captor, gaining the upper hand and chaining him in the very binds she was kept in for who knows how long. She scours the house for car keys, stumbling upon a folder filled with Polaroids of similarly imprisoned females. She rages...
Last year, Patrick Brice showed up to SXSW with Creep. Devilishly crafty and expertly focused, it fell in with the usual suspects of found footage horror, even though it was so much more than just another point and shoot, “gotcha!” scare effort. The natural tension that Brice was able to tease out of a scene...
There are so many pivot points in Z for Zachariah that it becomes hard to nail down exactly what director Craig Zobel intended for it. At one point, it seems decidedly about gender politics, at another about race relations, and eventually it boiled down to themes of suspicion, greed and jealousy. Spliced with a domineering...
What do 1630, a silver cup, Christian fervor and a goat named Black Phillip have in common? The Witch. Unholy goodness through and through, Robert Egger‘s feature film debut is a horror masquerading as a costume drama that’s as beady, black and misshapen as the center of a goat’s eye. Beneath the dirt-stained, leather-bound waistcoats,...