From the very first moments of Ultrasound, something is off. In fact, a lot of things are off. There’s the obvious fact that the movie starts with a brilliantly uncomfortably ‘car breaks down in the rain’ moment where a soaked man seeks shelter in the only house nearby, the kind of scene audiences are instinctually trained to beware in movies. But there’s little moments too. Little touches that you’ll catch where something is certainly not as it should be. A woman’s bulging pregnant belly is there in one scene and gone in the next. A fully-stocked room service tray is wildly out of place on a deserted country road. Like a Find-The-Mistake picture book (think Dr. Seuss’s ‘Wacky Wednesday’) the anachronisms and scrambled bits of reality in Ultrasound just keep stacking up. Read More
Tribeca 2021: Cloaked in Disillusion and Furs, ‘WILD MEN’ Battle Existential Crises
In Thomas Daneskov’s Wild Men (original title Vildmænd), Martin (Rasmus Bjerg) has lost his way. A family man with a wife and two daughters at home, Martin’s absconded to the craggy mountains of Norway, clan in Viking attire and armed with a makeshift bow and arrow. He plans to get back to his roots and live off the land like his hunter/gather ancestors of 3000 years ago but his aspirations are beyond the reach of his skillset. We’re witness to Martin’s plentiful limitations as he hunts a goat, striking it in the haunch from afar but unable to track the bloody trail to his would-be dinner. Left instead to smash and charbroil a small toad. The next scene he wretches up his amphibian meal, hunched over and helpless, into the icy river below.
Tribeca 2021: Darren Aronofsky-Produced Revenge Thriller ‘CATCH THE FAIR ONE’ A Grim Swing and a Miss
Native American women go missing, are sexually assaulted, or are murdered at an average of ten times that of the non-native population. These crimes are predominantly carried out by non-native criminals. Reasons for these staggeringly high rates range from a lack of institutional concern, indifferent law enforcement policies regarding missing young women, and the multitude of jurisdictional cracks between Federal and Tribal lands. All point to an overall lack of care and concern for the most marginalized within these communities, with about a third of these victims being under 18 years of age. And yet the statistic persists. Read More
Tribeca 2021: Collegiate Athlete Possessed by Competitive Spirit in ‘THE NOVICE’
Ernest Hemingway famously opined, “There is nothing noble in being superior to your fellow man; true nobility is being superior to your former self.” I’ve taken this sentiment to heart in my own life, allowing a competitive spirit with myself to drive my ambitions, both professionally and athletically, rather than trying to compare my skill with others. The Novice, the arresting debut feature from writer-director Lauren Hadaway, explores what happens when an obsession with besting yourself goes too far. As witnessed here, there is no nobility in obsession. Read More
Tribeca 2021: India’s Illuminating ‘The LAST FILM SHOW’ a Deeply Personal Love Letter to Film
In Pan Nalin’s The Last Film Show, the death of film has never hit harder. The Samsara director and Indian auteur has established himself over the years as a filmmaker with a distinct flair for visual storytelling, his films a kaleidoscopic whirl of images that speak to the simple power of colors and lights to evoke an emotional response. With an impressive career making documentaries, feature films, shorts, commercials, and television, Nalin looks back on his own journey to becoming a filmmaker in The Last Film Show, his most autobiographical and personal effort to date.
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Tribeca 2021: A ‘POSER’ Plagiarizes Her Way to Popularity in Devious Stalker-Thriller
Art is similar to pornography in the sense that I know it when I see it. There is a very fine line dividing art – whether that be performance art, music, poetry, or visual arts – from empty vacancy or ugly vandalism. Sometimes those lines can be blurred, much like a nipple on Instagram or the modern differentiation between television and film. This is even more apparent in avant-garde expressions of art, made to challenge traditional norms of what can and cannot be classified as art. A founding tenant of any counterculture movement is rooted in artistic pushback against tradition, and, importantly, the perspective of the artist themselves. In Ori Segev and Noah Dixon’s simmering psychosexual music-thriller Poser, the fine line between artist and con-artist melts and refracts as an obsessive podcaster infiltrates the inner sacrum or the Columbus underground music scene. Read More
Muddled Mythology and Tepid Romance Combine to Make ‘UNDINE’ Low-Wattage Erotica
Legend goes that the undine, an elemental race of water nymphs described in ancient European myths, are doomed to the fidelity of their beloved. Emerging from the water to love a man of their choosing and thereby become human, undine are beautiful but fragile creatures, cursed to die if their man isn’t faithful to them. The price of that infidelity? Death. Whereas many relationships end in taters when a beau is unfaithful, it’s literally kill or be killed for the undine and that goes doubly so in acclaimed German director Christian Petzold’s mythologically-rooted romantic drama Undine. Read More
Franchise Fatigue Possesses ‘THE CONJURING: THE DEVIL MADE ME DO IT’
The Conjuring extended universe is one of the – if not the most – preeminent examples of a modern horror franchise done correctly. Expansive, with spin-offs shooting off into this direction or that, and an absolute box office powerhouse (with almost two billion dollars in worldwide gross), The Conjuring’s terrifying rein is vast. And yet with three separate offshoots, including a full-fledged Annabelle trilogy, and more on the way, the haunting force of the series that began in 2013 comes sputtering to a decidedly indifferent halt with The Conjuring: The Devil Made Me Do It. Read More
Devilishly Fashionable ‘CRUELLA’ Sees Emma Stone Break Bad On the Catwalk
Turning any iconic Disney villain into a sympathetic (but still devious) protagonist is no easy feat, particularly when that task involves ‘both sides’ of turning 101 Dalmatian puppies into haute couture. Disney’s atrocious Maleficent origin story wholly bungled the task, dropping the bag on transforming that striking villain into a whole-cloth anti-hero, instead defanging and deflating the malevolent fairy, leaving her all but unrecognizable, costume aside. With Cruella, Disney course-corrects on that previous failing, striking the right balance between exploring the roots of its devilish protagonist while still remaining true to her animated rancorous counterpart. Read More
Formulaic Feel-Good Movie ‘DREAM HORSE’ Expertly Designed for Your Mom
Decidedly light matinee fare that has no qualms sticking to a well-trot winsome formula, Euros Lyn’s Dream Horse nonetheless breeds charm rather than contempt for its stick-to-the-formula approach. Based on the true story of a ragtag group of aspiring racehorse-owners from a Southern Welsh community who come together to breed and train a proper thoroughfare, Lyn’s film is designed for moms that like their movies “nice”. Read More