Peg Aloi
“Bluebeard’s Castle” is a sexy but subversive romance novel steeped in Gothic imagery.
The film beautifully captures a dreamy-nightmare aesthetic, suggesting that Priscilla’s life with Elvis was turbulent roller coaster of romantic highs and materialistic hollowness.
The Adams Family may be a low budget regional filmmaking collective, but it continues to raise the bar on horror art cinema.
Closing out coverage of the London Film Festival: films from Catherine Breillat, Michael Winterbottom, Luna Carmoon, Robert Morgan, and Daniel Kokotajlo.
It’s hard to pick favorites, but here are my top films from this year’s London Film Festival.
The first of three review round-ups from this year’s London Film Festival’s excellent slate of films.
This limited series is not easy to watch, but “Painkillers” should be considered indispensable viewing because of the light it shines on the amoral face of corporate greed.
William Friedkin’s “The Exorcist” stands, 50 years on, as a primer on how to lure viewers in with striking, haunting imagery as a prelude to a previously unimaginable cinematic journey.
Despite the lack of background or explanation for the occult item at the center of “Talk to Me,” I found it relatively easy to suspend my disbelief and become caught up in the story’s momentum.
Director Greta Gerwig’s hard-edged but affectionate paean to Barbie is sweeter than it is satirical, slightly more perky than political.
Recent Comments