Film
Cha Cha Real Smooth is sappy but welcome: it is an unconventional comedy that offers a rare dose of empathy for the family in these anxious times.
All the Colors of the Dark and The Case of the Bloody Iris are underrated giallo gems worth seeking out, representing not only the best of the genre, but sex symbol Edwige Fenech’s onscreen magnetism at its strongest.
Rather than a triumphant return to form from one of horror’s greatest visionaries, Dark Glasses plays like a faded Xerox copy of director Dario Argento’s past hits.
As always, the documentaries at the Tribeca Film Festival were where you found the best films. Here are four I would recommend.
One comes away a trifle numb: in part due to the sheer number of films made; but in part both awed and terrified by Hollywood’s ability to use what were, for the most part, mediocre films to make the ravages of war not only so acceptable to the American public, but glorious.
The clamor to do justice to 1972 did not cease, so here are salutes to four additional films, The Getaway, Last House on the Left, The Discreet Charm of the Bourgeoisie, and What’s Up Doc?.
In the annals of Russian repression, The New Greatness Case was a display of government overkill — until the events of this year redefined overkill.
If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
Winner of seven Cesars, this mordant portrait of the corrupt Parisian press mid 19th century, along with the commodification of just about everything, speaks loudly to the internet era.
Jurassic World: Dominion feels like Universal pureed every spec script for a Jurassic Park sequel ever sent to it by first-year film students. It’s narrative slurry. Like the pink slime used as filler in cheap burgers.
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