Review
Despite its potential for black comedy or moral sermonizing, 4×4 remains a gripping suspenser.
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Can we correct some of the mistakes we’ve made and engineer our way out of a deadly climate crisis of our own making?
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We’re desperate for some frothy good spirits, so welcome Barb & Star’s turquoise ‘n’ hot pink assault, forgive it for being mildly funny more often than wildly funny, and enjoy its modest pleasures.
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Over 75 segments from the Berlin Wall have found their way to the U.S., providing the subject for The American Sector, an amusing, quirky, and meditative road-trip/scavenger hunt.
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There’s much to admire in the color, character, and urgency of the Minnesotans’ playing and the overall strong direction from conductor Osmo Vänskä.
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The Dig is suffused with a very English (and problematic) sense of history: why it matters, how it can be taken for granted, and the odd way that certain elements of the past are valorized while others are kept buried.
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This film offers a much more nuanced and self-reflective conversation about authorship, authenticity, creative inspiration, and the role of film criticism than any of its detractors are willing to admit.
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Defiant and tonally offbeat, French Exit mirrors, in a sense, its female protagonist, who doesn’t give a damn what the world thinks of her.
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Sundance’s strengths for me this year (as in the past) were the festival’s documentaries.
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Crime Scene: The Vanishing at the Cecil Hotel makes for a gripping watch, one of Netflix’s finest true crime documentary series.
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