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Oslo, August 31st
Oslo, August 31st follows Anders (Anders Danielsen Lie), a recovering drug addict, through a 24-hour period, beginning on August 30th and creeping into the early morning of the 31st, as per the film’s title,
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Beyond the Black Rainbow
The most popular bit of Drive’s sparse dialogue among reviewers last year was Albert Brooks’ gangster describing his equally seedy past life as a maker of B-pictures. “I used to produce movies. In the
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On Death Row
Whether he is climbing into prehistoric caves or watching suicidal penguins, Werner Herzog has always sought out the strangeness inherent in what we consider mundane. In last year’s Into the Abyss, Herzog stared into
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The Day He Arrives
Considering the subject, the best way to review Hong Sang-soo’s latest might be to rephrase Trevor Link’s excellent summation of Oki’s Movie, which came out last week and, unsurprisingly, involves many of the same
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Keyhole
Few directors are as drawn to the idea of film as surrealist self-evaluation as Guy Maddin. The Canadian filmmaker has functioned for the past few decades as a kind of David Lynch of the
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Oki’s Movie
By now, critics have noted Hong Sang-soo’s tendency to repeat himself, in plots, themes, character types, style and tone. His harshest critics might say he’s making the same film over and over again, an
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Damsels in Distress
A great amount of expectation has built up in the years leading up to Whit Stillman’s latest film Damsels in Distress, following an absence that lasted more than a decade. In the 1990s, Stillman
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4:44 Last Day on Earth
One of last year’s major films was Lars von Trier’s Melancholia, which depicted the end of life on Earth. This year, Abel Ferrara’s apocalyptic drama 4:44 Last Day on Earth deserves, but probably won’t
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Footnote
Joseph Cedar’s Footnote explores a relationship between father and son, which seems, at first, worrying. While I know stuff like The Godfather and Indiana Jones and the Last Crusade exist, hearing that a film
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The Hunger Games
The task of reviewing a film born from a franchise such as Harry Potter or Suzanne Collins’ The Hunger Games makes the critic’s life extremely difficult. No matter how much negative press an adaptation
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