Nicole Veneto
Think Ray Harryhausen by way of the Quay brothers or Jan Švankmajer and you’ll have a vague sense of the sort of magnificent black magic that animatesMad God.
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Belle didn’t quite make my heart sing, but it’s a nice change of pace to see a film that treats the internet as a place that can bring people together, not merely a cut-throat Thunder Dome of clashing egos and verbal slap fights.
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Director Lana Wachowski seems less interested in telling a coherent story with fleshed out characters than she is in aggressively commenting on how we’re trapped in a cycle of reboots and remakes with no end in sight.
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With Nightmare Alley, Guillermo del Toro once again proves to be an unparalleled cinematic visionary whose commitment to craftsmanship continues to amaze.
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Death to Metal is the best sort of low-budget exploitation flick because its ideal balance of ridiculously excessive gore and self-aware humor makes up for its technical and budgetary shortcomings.
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The Feast isn’t coherent enough to go toe to toe with modern folk horror heavyweights, but it’s an admirable entry in the canon.
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This isn’t so much a movie as it is a micro-budget prank, and I must respect the hustle Dasha Nekrasova is pulling here even if it’s not in good taste.
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Rather than directly interviewing her father about his life, Lynne decided to take a more peripheral approach in order to figure out what makes her dear old dad tick.
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“If you really like something and want to make sure you have access to everything, you’ll never do better than having the disc.”
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Arts Feature: Best Movies (With Some Disappointments) of 2021
Our demanding critics choose the best films (along with some disappointments) of the year.
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