Blue Bayou’s story deserves to be told and heard. But rather than focus slowly and intently on its central crisis, the script kneads in a dizzying array of additional threads and sidelines.
Ezra Haber Glenn
Film Review: Interrogating Guilt — Paul Schrader’s “The Card Counter”
The Card Counter collapses under the weight of director Paul Schrader’s guilt complex.
Arts Reconsideration: The 1971 Project — Celebrating a Great Year in Film (Part Two)
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
Film Review: “Lapsis” — A Satirical Sci-Fi Send-Up of the Gig Economy
This new satirical sci-fi fable is perfect for home streaming to channel (or perhaps exacerbate) your gnawing anxieties at a world slipping into anti-human automation and free-market desperation.
Film Review: Being and Time in “Truth or Consequences”
This is a thoughtful, surprisingly moving, and extremely ambitious film, one that employs an innovative style and some unconventional pacing to explore an unusually complex philosophical and emotional landscape.
Film Review: Wither the People of Magnitogorsk — “Kombinat”
Without ignoring the terrible-beautiful magnetism of the industrial imagery we love to hate and hate to love, the camera is gradually, gently, drawn across the river and away from the workday, to spend time with these very real humans who serve the machines.
Film Review: “Censor” — “The Horror, the Horror…”
Censor explores thought-provoking questions about the strange relationships between films, society, fantasy, and reality — and individual identity — in an increasingly mediated and violent world.
Film Review: “Nomadland” — “Not All Those Who Wander Are Lost…”
Fern may be house-less, but she’s not homeless — there’s a difference, she explains; her home will be the road, and the road is full of life, love, challenges, and surprises, all there for the taking.
Film Review: “Herself” — “Safe as Houses”
While the film is determinedly called “Herself “(“you got this, girl…”), the subtitle could equally have been “It Takes a Village…”
Film Review: Last Call for Lost Souls — “Bloody Nose, Empty Pockets”
This innovative “documentary” is a major accomplishment: it merits a much broader viewing than it is likely to attract (this one has “sleeper” and “cult classic” written all over it).