Film
Spanish director Victor Erice looks back at what’s lost and gained in “Close Your Eyes”.
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“The Front Room” lacks the suspense and tension of “My Mother the Car” and, on top of that, it doesn’t have the benefit of a super-catchy theme song.
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Despite excessive hero-worshiping, “The De Palma Decade” is a thoroughly enjoyable portrait of director Brian De Palma, the counterculture master of the scream scene.
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The performances in Mountains are astounding, and Monica Sorelle’s sure-handed direction heralds a new and formidable talent.
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For David Lynch, “Lost Highway” is a transitional film of sorts, a limbo-like zone between the innocence redeemed in “Blue Velvet” and the innocence corrupted in “Mulholland Drive”.
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Disney has bought Fox, so the “Alien” franchise is now incapable of having an impact close to what it initially had, when it redefined what science fiction/horror films could be.
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A buffer between two bruised and only fitfully reflective egos, Sam finds herself in an awkward position, one which becomes increasingly untenable as lines of trust are crossed and power dynamics exploited.
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After 45 years, this controversial juggernaut of a film has finally arrived, in all its ambitious, hot, messy, gratuitous splendor. Do see it on the big screen if at all possible.
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A testament to the power of benignant narcissism.
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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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