Film
Billed as a queer woman’s spin on “The Shining,” “Bad Things” is a much more entertaining film in concept than it is in execution.
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The fact is that “Love in Taipei”’s appeal principally lies in Taipei itself: the film doubles as an extended advertisement for the city.
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Despite its depressing worldview, “Werckmeister Harmonies” is an exhilarating work of art, full of moments of grace, beauty, and even humor.
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Sanitized as it is, “Red, White & Royal Blue” is a sign of progress — a queer rom-com has finally entered the fairy-tale film canon.
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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.
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With exception of one narrative chiller, and a look at singer Karen Carpenter, the best films I saw were documentaries on the lives and careers of significant African-Americans.
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Preoccupied with the little melodramas of their lives and their careers in the arts, the characters in”Afire” put off acknowledging the gathering disaster that might end up at their doorstep.
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This shaggy dog story, set in the bowels of Manhattan, in the yet to be gentrified bohemian enclave of SoHo, presented an opportunity for Martin Scorsese to return to bare-bones filmmaking.
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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.
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Director Greta Gerwig’s hard-edged but affectionate paean to Barbie is sweeter than it is satirical, slightly more perky than political.
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