Steve Erickson
The power of Ukrainian director Sergei Loznitsa’s film stems from its deep repugnance at an acceptance of the aesthetic and moral poverty of dictatorship.
A Cornish folk-horror reverie where sound and image eclipse story, evoking the erosion of community and the fragility of working-class life.
Steven Spielberg revisits extraterrestrial wonder with technical virtuosity, but his media-age fable drifts into sentimentality and soft-focus optimism.
Boots Riley fuses anti-capitalist critique with surrealist comedy, imagining revolt as both necessity and joy.
A fractured childhood remembered through a lens of distance and grief
Faced with the bizarre evolution of John Lilly’s life and ideas, the directors were wise to refrain from sensationalism.
Directors Sims-Fewer and Mancinelli indulge in a few too many changes of tone, but their film offers a pleasantly oddball romance.
The film urges the audience to take action against AI, but it is too symptomatic of today’s paralysis to be of as much help as it would like to be.
“No Other Choice”’s South Korea looks as if it is steadily transforming into a home more fit for robots — manning the sawmills of capitalism — than humans.
It can’t be denied that “Marty Supreme” is effective as a wild trip. It’s an immersive experience — not an analysis of its self-adoring anti-hero.
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