As with many horror and action films (and probably much of real life), the build-up is better than the eventual resolution/climax.
Ezra Haber Glenn
Film Commentary: Diamonds in the Rough — One Perfect Moment from “Infinite Storm”
Years from now, I’m sure I will have forgotten nearly everything about Infinite Storm, but this one scene will still stick with me.
Arts Feature: Best Movies (With Some Disappointments) of 2021
Our demanding critics choose the best films (along with some disappointments) of the year.
Film Review: “Encounter” — A Solid Genre-Spanner
This “father and sons on the lam” film adeptly blends genres (in this case: sci-fi plus thriller). It is well assembled, emotionally compelling, and beautifully shot.
Film Review: “Belfast’ — Black and White and Rosy All Over
Belfast is overly sentimental and drenched if not drowned in nostalgia, but it’s also very sweet, uplifting, well-paced, beautifully shot, and competently assembled.
Film Review: “Terra Femme” — Only Connect…
Collectively, Terra Femme’s footage provides a window — or really, a suite of windows — that allows us to view a bygone world through the eyes of silent female gazers.
Film Review: “Blue Bayou” — “I’m Going Back Someday…”
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.
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.