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.
The fact is that “Love in Taipei”’s appeal principally lies in Taipei itself: the film doubles as an extended advertisement for the city.
Despite its depressing worldview, “Werckmeister Harmonies” is an exhilarating work of art, full of moments of grace, beauty, and even humor.
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.
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.
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.
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.
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.
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.
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