Nicole Veneto
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.
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.
“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.
Whatever else 2024 has in store for queer filmmakers and audiences, there’s likely to be nothing else that’ll put a smile on your face quite like “The People’s Joker.”
Even if the closing film was a complete and utter bust, I had a blast seeing some really great movies with fantastic crowds. See you next year, and as always, stay weird Boston.
This time around, I decided to go all in and totally movie-pill myself by seeing all 12 films in the feature line-up at the expense of my own sanity. Just kidding …
“Lisa Frankenstein” is the first delightful surprise of 2024, destined for weird girl slumber party greatness in a few years time.
Bertrand Mandico’s “She is Conann” left me buzzing, high on a euphoria of aesthetic excess that represents the true legacy of New Queer Cinema.
For all of “Suitable Flesh”’s indulgence in B-movie schlock and gross-out gore, the film’s pulsating sexuality becomes its strongest asset.
“The Boy and the Heron” is a work of true beauty that fits squarely within veteran director Hayao Miyazaki’s gorgeous and emotionally resonant oeuvre
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