STARDUST isn’t terrible, but it doesn’t seem to strive for much more than that. The Bowie biopic lacks the cryptic charisma of its subject; something that might distract from a disjointed and inconsequential narrative.
TENET ends up something of a Rube Goldberg machine of a film: a wondrously complex set of mechanics that is fascinating, but also an incredibly convoluted way of masking what is, in essence, a thin and poorly executed story.
George C. Wolfe’s adaptation of the August Wilson play is a demonstration of captivating and powerful acting. Although it never seems to flourish visually, the chamber-piece story and powerful performance of the late Chadwick Boseman and the supporting ensemble carry it far.
MANK may become more of a cinematic curio in Fincher’s filmography but it has enough bite and edge here to give the film some degree of insight beyond the origin of one of cinema’s most significant works.
Sean Durkin’s first feature film since MARTHA MARCY MAY MARLENE – one of the best debuts of the previous decade – is a parable of the pursuit of prosperity begetting toxicity. Durkin’s characters and story show the descent of a family unit and place of shelter into a nest of vipers. The film begins in … Continue reading The Nest
AFRICAN APOCALYPSE is not an examination of grainy photographs and dusty historical sources but one of an enduring legacy of oppression and white supremacy. Jim Ross reviews.
After reviewing MOGUL MOWGLI as part of our London Film Festival coverage, Jim Ross spoke to director Bassam Tariq about the themes of the film and the festival circuit in the coronavirus-hit year of 2020.
Bassam Tariq’s feature fiction debut is a wonderful showcase for Riz Ahmed’s versatility as a performer and an engaging explosion of energy about heritage, identity, and the clashing cultural expression of both.
The concept of ANOTHER ROUND reads like a bawdy comedy, but the cocktail Vinterberg and Mikkelsen shake up is altogether sharper and more complex than that. Jim Ross reviews at TIFF 2020.
Politics is a backdrop and metaphor for the resurfacing of painful memories in WILDFIRE, a film that never deviates from the characters at the core of this drama. Jim Ross reviews at TIFF 2020.