Nicole Veneto
Director Robert Eggers’ take on the venerable vampire is a little too buttoned-up, too clean, too refined.
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Sitting in my bedroom, viewing a screener copy of “Dream Team”, my initial bewilderment eventually curdled into boredom.
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Filled with B-movie puppet antics, “Frankie Freako” is a joyous throwback to the days where you could walk into a video store and rent one of a dozen Gremlins rip-offs about someone’s mundane suburban life being upended by a bunch of little guys.
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“The Substance” is the most insane midnight movie you’ll see in a multiplex in 2024. Needless to say, I loved it.
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“Cuckoo” bridges the experiences of cis and trans women together with overlapping concerns about how our bodily autonomy is increasingly controlled by patriarchal forces.
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There’s more horror on the horizon, but “Longlegs” will undoubtedly stand as one of the buzziest chillers of 2024.
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It really bums me out to tell you that “MaXXXine,” the much awaited final film in the “X” trilogy, is an underwhelming ending to an otherwise interesting nu-slasher series.
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The “Mad Max” series is one of the few franchises in history that’s only gotten better with age, likely because George Miller’s refined and tinkered with his distinctive vision via each new development in filmmaking technology.
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“I Saw the TV Glow” is nothing short of astonishing, a defining moment in queer cinema in the making and proof positive that Jane Schoenbrun is one of our generation’s most needed filmmakers.
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Arts Remembrance: The Voice of Love — On David Lynch’s Empathy
For all the accusations David Lynch faced over the supposed emotional and ironic detachment of work, his films are wellsprings of love for their subjects.
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