post

Kinky ‘Sanctuary’ an Intoxicating Two-Hander That Dominates Audience

It all starts in a hotel room. Hal (Christopher Abbott) orders room service and waits. Enter Rebecca (Margaret Qualley), a whip-smart dominatrix. Qualley, who you may remember from her standout performances in Maid and Once Upon a Time in Hollywood, first poses as a lawyer there to “gather information, verify it, and write up a report.” Although it’s all part of a CEO/powerbroker role play, meticulously scripted to the last detail, it’s actually not that far from the truth. This is Sanctuary, a kinky, mentalist dom-sub rom-com, and it’s the stage for Qualley and Abbott’s most intoxicating performances yet. Read More

post

Sundance 2021: Two Emotionally Wounded BFFs Are Going to Kill Themselves ‘ON THE COUNT OF THREE’

Jerrod Carmichael and Christopher Abbott do a high wire balancing act in tragicomic suicide bromance On the Count of Three, a movie that’s sure to leave viewers shaken and maybe just a bit disturbed, but nonetheless absolute certain of what Carmichael came to say.  Read More

post

Bold and Boundless ‘BLACK BEAR’ Boggles the Brain

What begins inauspiciously as a nervy tableau about an unhappily married couple unmoored by the arrival of a duplicitous and tempestuous female boarder soon spins into a bizarre anti-anthology that breaks as many rules of traditional-storytelling as it can in its bewildering and enchanting 104 minutes. Writer and director Lawrence Michael Levine (Wild Canaries) sets out to defy the logic of filmmaking grammar, having his principal cast play variants of different characters without stopping to explain the leaps from one storyline to the next. In essence, Black Bear refuses to be caged. To any one style, to any one genre, to any one story. In a nutshell, it is a relationship drama meets a dark comedy meets an artistic deconstruction meets a survival story. Though certain to confuse and frustrate viewers looking for a more linear and easy-to-define cinematic experience, Black Bear remains a daring and boldly-acted pièce de résistance from a filmmaker disinterested in falling in line and fully committed to braving the wilderness of going it alone.  Read More

post

SUNDANCE 2020: ‘POSSESSOR’ Is A Blood-Soaked Murder Inception That Continues The Cronenberg Legacy 

The King of Venereal Horror has begat a true Prince of Pain. Brandon Cronenberg, the 40-year old offspring of Baron of Blood David Cronenberg, takes up his pops’ mantle circa the turn of the century, when the elder Cronenberg began to pivot away from visceral science-fiction-tinged horrors (Videodrome) and bodily transformations (The Fly) and towards more dramatic affairs (A Dangerous Method) and electric thrillers (A History of Violence). As one sun sets, another rises and with Possessor, a movie that marries the chilly intersection between technology and humanity and some absolutely spine-tingling visual depictions of bloodshed, the younger Cronenberg has come into his own. Read More

post

Stylish, Surreal ‘PIERCING’ A Tempestuous Cat and Mouse Murder Game

A husband and father’s scheme to kill a prostitute goes wrong when she stabs herself first in Nicolas Pesce’s devilish Piercing. Pesce’s bloody adaptation of Ryū Murakami’s short Japanese novel of the same name is deeply sardonic in nature, a clever two-person play on that age-old “desperate man kills sex worker” trope that flips the script in deliciously dark manner. Picture American Psycho for millennials, with less business card panic attacks and more feminist subversion, and you’ll be somewhere in the right ballpark.  Read More