CANNES FILM FESTIVAL

SUNDANCE FILM FESTIVAL

VENICE FILM FESTIVAL

TIFF

EDINBURGH FILM FESTIVAL

LONDON FILM FESTIVAL

SXSW

TRIBECA FILM FESTIVAL

Daughter of a Lost Bird: Review (2022 Native Cinema Showcase)
Mali Twist: French Film Festival UK Review
Angry Annie (Film Review): Empathetic Abortion Drama
Where Life Begins: UK Jewish Film Festival Review
Bootlegger : Film Review (2022 Native Cinema Showcase)
The Forger (UK Jewish Film Festival Review): Fake Papers, Please
Director’s Intention (LKFF Review): Hit-Or-Miss Hazy Romance
Plaza Catedral: UK Jewish Film Festival Review
Gyeong-ah’s Daughter (LKFF Review)
Concerned Citizen: UK Jewish Film Festival Review
Kingmaker (LKFF Review): Manipulating The Game Of Politics
Seire (LKFF Review): The Sins of the Father
Hot in Day, Cold at Night (LKFF Review): Budget-friendly Indie Drama
Róise & Frank (SDIFF Review): A Well-Intended Pet Drama
Dear Zoe (SDIFF Review): Sadie Sink Commands the Screen
The Kingdom: Exodus (LFF): Episodes 1 & 2 Review
Meet Me in the Bathroom (LFF Review): Early 2000s New York Time Capsule
You Won’t Be Alone (LFF Review): A Fantastical Fable of Darkness
The Inspection (LFF Review): Looking for Acceptance
Till (LFF Review): Deadwyler Delivers a Powerhouse Performance
The Stranger (Netflix) 2022 Film: LFF Review
Brainwashed: Sex-Camera-Power (LFF Review): Male Gaze for Dummies
Guillermo del Toro’s Pinocchio (LFF Review): Far From Wooden
My Policeman (Film Review): Cast Shines in Riveting Adaptation - LFF
Lady Chatterley’s Lover (2022) Netflix Film: LFF Review
Fast & Feel Love (LFF Review): Stacking Cups and Growing Up
She Said (LFF Review): A Momentous Investigative Drama
Star Dolly De Leon on Triangle of Sadness (LFF Interview)
Klondike (LFF Review): Domestic Drama Meets War Film
Master Gardener (NYFF Review): A Place of Conspicuous Display
More Than Ever (LFF Review): “Everything We Will Never Be Again”
Director Hlynur Palmáson on Godland (LFF Interview)
Brother (LFF Review): A Perfect Literary Adaptation
The Damned Don’t Cry (LFF Review): A Dense, Complex Work
The Origin (LFF Review): A Propulsive Prehistoric Tale
The Good Nurse (LFF Review): Chastain Highlights True Crime Drama
Last Flight Home (LFF Review): “Try A Little Kindness”
Close (Film Review): The Bone Breaks; It Grows Back Stronger
Godland (LFF Review): A Muddled but Beautiful Odyssey
Alcarràs (LFF Review): Familial Strife, Familial Affection
Showing Up (NYFF Review): The Balance Between Life & Art
Holy Spider (LFF Review): A Film Of Righteous Anger
Nanny: Interview with Anna Diop, Michelle Monaghan & Zephani Idoko (LFF Red Carpet)
Blue Jean (LFF Review): An Exceptional Debut Film
EO (2022 Film) LFF Review: Channeling Bresson
Bardo, False Chronicle of a Handful of Truths: LFF Review
Causeway (LFF Review): Lawrence & Henry Excel in Indie Drama
Klokkenluider (LFF Review): A Devious Comedy Drama
Coma (2022 Film) LFF Review: Musings of a Locked-Down Mind
Roald Dahl’s Matilda: the Musical (2022 Film): LFF Review
Love Life (LFF Review): Inconsistent Japanese Family Melodrama
The Woman in the White Car (LFF Review): Twists & Turns Galore
Nanny (LFF Review): Psychological Horror Grounded in Realism
Lynch/Oz (LFF Review): “There’s No Place Like Home”
All That Breathes (LFF Review): The Link Between Man & Nature
White Noise (LFF Review): The Sound of Existential Dread
Sick of Myself (LFF Review): A Squirm-Inducing Wonder
Ashkal (LFF Review): Neo-Noir Tunisian Crime Thriller
Nashville Film Festival 2022: The Movies We Watched
Rachel Lambert on I Can Feel You Walking: Nashville Interview
The Cow Who Sang a Song into the Future: Nashville Review
Butterfly in the Sky (Nashville Review): Why Storytelling Matters
Alta Valley (Nashville Review): A Mixed Bag of a Western
Burning Hearts (Film Review): Star-Crossed And Loveless
Luxembourg, Luxembourg (Film Review): Daddy (Not So) Cool
2022 BFI London Film Festival: 20 Films to Watch
Saint Omer (2022) Film Review: Mother’s Guilt
Stéphane Lafleur on “Viking” (TIFF Interview)
Carmen Jaquier & Lilith Grasmug on “Thunder” (TIFF Interview)
Venus (TIFF Review): Wake Me Up Before You Go-Go
Something You Said Last Night (2022 Film): San Sebastián Review
V/H/S/99 (TIFF Review): Uneven Found Footage Schlock
Wendell & Wild (Film Review): Stuffed Toy Box of Horrors
The Greatest Beer Run Ever (TIFF 2022): Film Review
Empire of Light (TIFF Review): A Messy But Gorgeous Romance
The Fabelmans (TIFF Review): A Tribute to Film and Family
Women Talking (TIFF Review): “The Sun is Setting, and Our Light is Fading”
The Wonder (TIFF Review): The Act of Belief in a World of Deceptions
Pearl (TIFF Review): Mia Goth Shines in a Fitting Prequel
The Whale (TIFF Review): Fraser Excels In Heartbreaking Tale
No Bears (Khers Nist) Review: Great Guerrilla Storytelling
All the Beauty and the Bloodshed (TIFF 2022): Film Review
Dead for a Dollar (Film Review): Enjoyable, But Puzzling
Broker (TIFF Review): Replaying the Greatest Hits
Glass Onion: A Knives Out Mystery (TIFF 2022) Film Review
Decision to Leave (TIFF Review): Killing is Like Smoking…
Moonage Daydream (TIFF Review): The Prettiest Star
Joyland (TIFF Review): Repressed Desires & Gender Roles
Viking (TIFF Review): An Ambiguous Space Character Study
The Blue Caftan (TIFF Review): Beautifully Restrained, Delicate & Intimate
Argentina, 1985: Interview with Santiago Mitre, Ricardo Darín & Alejandra Flechner - Venice Film Festival
Corsage (Film Review): Polished Drama with Fragility & Forte
The Woman King (TIFF Review): An Epic, Emotional Powerhouse
R.M.N. (TIFF Review): Hatred Slowly Deteriorates the Mind
De Humani Corporis Fabrica (TIFF Review): The Unflinching Wonders of Our Bodies
Weird: The Al Yankovic Story (TIFF 2022): Film Review
Pacifiction (TIFF Review): Political Paranoia & the Inevitability of Evil
Hanging Gardens (Venice Review): Let’s Talk About Sex(dolls)
Return to Seoul (TIFF Review): In Search for a Place to Call Home
Blonde (Film Review): Bold Ambition – Venice Film Festival
Director David Wagner on “Eismayer”: Venice Interview - Venice Film Festival
The Banshees of Inisherin (Venice Review): It’s Not Me, It’s You
Dreamin’ Wild (Venice Review): Second Chances Sound Sweet
The Son (Venice Review): Superb Storytelling
The Eternal Daughter (Venice Review): In My Mother’s House
“Typeman” Will Make You Feel Alive (Venice Immersive Review)
Don’t Worry Darling (Venice Review): Flawed but Enjoyable
Florent Gouëlou, Pablo Pauly & Romain Eck on Three Nights A Week: Interview - Venice Film Festival
Eismayer (Venice Review): Love, Truth, & Masculinity
Bones And All (Venice Review): “Let’s Be People.”
Living (Film Review): Storytelling at its Best
TÁR (Venice Review): The Downfall of a Narcissist
Gumball Dreams Review: Vibrant Live Theatre VR Adventure
Three Nights A Week (Venice Review): Love, in All Its Forms
TIFF 2022: 20 Films to Watch at the Toronto Film Festival
Venezia 79: 20 Films to Watch at the 2022 Venice Film Festival
2022 Venice Film Festival: All the Stars Confirmed in Attendance
Venice Immersive: Virtual Reality Line-Up for Venezia 79 (2022)
2022 Venice Film Festival: Venezia 79 Line-Up Announced
Sophie Galibert & Alex Trewhitt on Cherry: Tribeca Interview
Jerry & Marge Go Large (Tribeca Review)
Pink Moon (Tribeca Review): A Bizarre & Honest Exploration of Mortality
A Love Song (Film Review): Expert Minimalism
Attachment (Tribeca Review): A Unique Spin on Possession
Iqbal Theba on Land of Gold: Tribeca Interview
Land of Gold (Tribeca Review): “The Choice in Between”
Clayne Crawford on The Integrity of Joseph Chambers: Tribeca Interview
The Courtroom (Tribeca Review): Musings on Immigration Law
Employee of the Month (Tribeca Review): A Flat Satire
In Her Name (Tribeca Review): An Awkward Family Drama
Cherry (Film Review): A Charming Comedy About Embracing Adulthood
Rounding (Tribeca Review): An Uneven Thriller Experiment
My Love Affair with Marriage (Tribeca Review): The Truth About Love
Next Exit (2022) Film Review: Searching for Meaning
Family Dinner (Tribeca Review): A Stomach-Churning Slow-Burn
The Integrity of Joseph Chambers (Tribeca Review): Proving One’s Worth
Metronom (Cannes Review): “The Time to Hesitate is Through”
Falcon Lake (Cannes Review): A Ghostly Tale of Young Love
Tribeca 2022: 15 Films to Watch at the Festival
The Green Perfume (Cannes Review): Screwball Cure for Pledged Crimes
El Agua (Cannes Review): Mythology & Naturalism Through the River Creeks
Aftersun (Cannes Review): Sun, Sea & Melancholy
Scarlet (L’Envol) Cannes Review: An Endearing Tale with Magical Realism
One Fine Morning (Cannes Review): Finding Unexpected Love
Enys Men (Cannes Review): The Sounds of Isolation
Triangle of Sadness (Cannes Review): Flawed Super-Rich Satire
Armageddon Time (Cannes Review): A Personal Coming-of-Age Film
Final Cut (Coupez!) Cannes Review: Un Cut of the Dead
2022 Cannes Film Festival: 15 Films to Watch
TRAMPS! (BFI Flare Review): All Hail The New Romantics!
The Novice (BFI Flare Review): First or Last
The Sound of Scars (BFI Flare Review): A Truly Powerful Watch
The Divide (BFI Flare Review): Volatile A&E Drama
Sirens (BFI Flare Review): Rock ‘n’ Roll in Lebanon
Wildhood (BFI Flare Review): Ode to the Mi’kmaw
Cop Secret (BFI Flare Review): Reykjavík Vice
A Distant Place (BFI Flare Review): Prejudice Versus Love
Cha Cha Real Smooth at SXSW: Red Carpet Interview
To Leslie (SXSW Review): Riseborough & Maron Anchor Affecting Drama
Soft & Quiet (SXSW Review): The Sickening Horrors of Reality
Girls Girls Girls (Film Review): The Thrill of Teenage Discovery
The Prank (SXSW Review): A Messy Bait-and-Switch Thriller
Charli XCX: Alone Together (BFI Flare Review): How We Felt Then
Bodies Bodies Bodies (SXSW Review): A Madhouse of Fun
Slash/Back (SXSW Review): Vibrant Inuit Alien Invasion Film
Linoleum (SXSW Review): Jim Gaffigan Delivers in Sci-Fi Dramedy
Pretty Problems (SXSW Review): Champagne & Emptiness
The Girl From Plainville on Hulu (SXSW): Episode 1 Review
I Love My Dad (SXSW Review): A Riotous Father-Son Road Trip with A Twist
Apollo 10 1/2: A Space Age Childhood: SXSW Review
Watcher (SXSW Review): Maika Monroe Makes Her Return to Horror
We Are Not Ghouls (SXSW Review): Guantanamo Doc Inspires
Murina (Glasgow Review): Chilling Parental Control
The Unbearable Weight of Massive Talent: SXSW Review
Crows Are White (SXSW Review): The Cages We Build & Escape
Mandrake (Shudder) Film Review: Root Of All Evil
Happening (Glasgow Review): The Ugliness of Law
Everything Everywhere All At Once (SXSW Review): Loving Insanity
Moon, 66 Questions (Glasgow Review): A Delicate Look at Two Estranged Souls
Prayers for the Stolen (Glasgow Review): A Haunting Masterwork
Angry Young Men (Glasgow Review): Gang Capers
Adult Adoption (Glasgow Review): Seeking Parental Guidance
Anaïs in Love (Glasgow Review): Light, Sun-Kissed Romance
Benediction (Glasgow Review): The Aftermath of War
Nitram (Glasgow Review): The ‘Making’ of a (Gun)Man
SXSW 2022: 15 Films to Watch at South By Southwest
Yuni (Glasgow Review): Quietly Determined Liberation
Cette Maison (Berlin Review): Jumbled Visions of Grief
Maika (Sundance Review): A Cute Nostalgic Ride for 90s and 2000s Kids
Director Alli Haapasalo on Girls Girls Girls (Sundance Interview): “A Film About the Need to Be Seen”
Editor Chris Witt on Breaking (Sundance Interview)
Sharp Stick (Sundance Review): “Be Proud of Your F*ing Scars”
Alice (Sundance Review): Keke Palmer Shines in So-So Slavery Drama
Resurrection (2022) Film Review: Unhinged Motherhood Drama
loud and clear reviews rising phoenix evan rachel wood part 1
Phoenix Rising, Part 1 (Sundance Review): Evan Rachel Wood Tells Her Truth
Honk for Jesus. Save Your Soul. (Sundance Review): Hall & Brown Are a Hoot
My Old School (Film Review): Deception & Survival
Cha Cha Real Smooth (Review): The Standout of Sundance 2022
Dual (Sundance Review): Sci-Fi Flick Fumbles at the Finish Line
Good Luck to You, Leo Grande (Review): An Ode to Self-Love
Call Jane (Film Review): Banks & Weaver Deliver in Abortion Drama
FRESH (Film Review): Sebastian Stan Excels in Familiar Horror
When You Finish Saving the World (Film Review): A Deeply Felt Family Drama
The Panola Project (Sundance Review): Local Hero
Hallelujah (Sundance Review): Family Ties
2022 Sundance Film Festival: 10 Films to Watch
Director Hong Sung-eun on Aloners (Torino Interview)
Sisters (Soeurs) FFF Review: Slow Start, Better Finish
Fly Me Away (Envole-moi) FFF Review: Brotherly Love
The Enemy (L’ennemi) FFF Review: A Man of Many Faces
Margaux Hartmann (FFF Review): A Widow Seeks New Beginnings
The Speech (FFF Review): A Smart and Witty Low-Stakes Comedy
Aloners (Torino Review): The Burdens We Silently Share
La Chica Nueva (Torino Review): A Snapshot of Argentina
Une Jeune Fille Qui Va Bien (A Radiant Girl): Torino Review
Drive My Car (AFI Review): Short Story Adaptation Stirs the Soul
Sing 2 (AFI Review): Symphonic Sequel Hits All the Right Notes
Bruised (AFI Review): Berry is Fantastic in a Familiar Film
Swan Song (AFI Review): Mahershala Ali Delivers in Dual Roles
Vera Dreams of the Sea (AFI Review): Grief and Property
Jockey (AFI Review): Clifton Collins Jr At His Career Best
The Simple Charm of “Paris, 13th District” (AFI Fest Review)
tick, tick…BOOM! (AFI Review): Garfield’s Greatest Performance
Sweet Disaster (Raindance Review): Finding Peace in the Unexpected
Where’s Rose (Raindance Review): Manifesting Your Inner Demons
White Noise (Raindance Review): Into The Eye of the Alt-Right Storm
Youth V Gov (Raindance Review): Taking the Climate Crisis to Court
Benedetta (LFF Review): Paul Verhoeven’s Story of Forbidden Love
Ride The Wave (Film Review): ‘Tomorrow and Every Other Day’
ear for eye (LFF Review): Challenging Call for Action
Bull (2021): A Lean, Mean Crime Thriller (LFF Review)
Hit the Road (LFF Review): Dynamic Road Trip Drama
Shepherd (LFF Review): An Atmospheric But Ordinary Horror
Queen Of Glory (LFF Review): Chaos, Colour, and Weed
The Hand of God: Maradona Maketh Man (London Film Festival Review)
Wheel of Fortune and Fantasy: Snapshots of Life (LFF Review)
Director Radu Jude on Bad Luck Banging or Loony Porn (LFF Interview)
The Souvenir: Part II (LFF Review): Personal and Tender Closure
Boiling Point (Film Review): Sizzling One Take Restaurant Drama
The Harder They Fall (LFF Review): An Unrestrained Western Riot
Il Buco: Delicate Cave-Based Descent (London Film Festival Review)
Belle: Beauty and The Beast and Online Bullying (LFF Review)
Bad Luck Banging or Loony Porn (LFF Review): Raging Romanian Satire
I’m Your Man (Review): Eggert & Stevens Shine in Smart Relationship Drama
The Electrical Life Of Louis Wain: A Biopic That Breaks Tradition (TIFF Review)
Petite Maman (TIFF Review): Céline Sciamma Stuns Again
After the Crossing (Traverser) Film Review: A Road To Eldorado
Delphine’s Prayers (Film Review): A Portrait of Strength & Suffering
Halloween Kills: The Sleep of Reason Produces Michael Myers (Venice Review)
Halloween Kills: il sonno della ragione genera Michael Myers (Recensione)
Old Henry Revives The Western Genre (Venice Film Festival Review)
Songs For The River (Film Review): Framing The Unfathomable
The Eyes of Tammy Faye: Chastain Captivates in Charming Biopic (TIFF Review)
The Humans (Review): Jenkins & Houdyshell Deliver in Dark Family Drama
Spencer: Brief Moments of Freedom (Venice Film Festival Review)
The Worst Person in the World: A Love Letter to Lost Souls (TIFF Review)
The Power of The Dog: Campion’s Cinematic Comeback is a Classic (TIFF Review)
America Latina (Venice Review): Daring & Disarming Character Study
Freaks Out (Venice Review): A Glorious Ode to Outsiders
Ana Lily Amirpour, Craig Robinson & Ed Skrein on Mona Lisa and the Blood Moon (Venice Interview)
The Card Counter (Review): “Someone To Find Your Way Home”
Last Night in Soho (Venice Review): The Monsters We Create
Dune (2021): Chalamet Shines in Immersive Adaptation (Venice Review)
Land of Dreams: Absurdism & Political Satire (Venice Review)
Venezia78: 20 Films to Watch at the 2021 Venice Film Festival
The Man Who Sold His Skin: A Reflection on Human Exploitation (Edinburgh Review)
The Road Dance (Film Review): Hope & Grief in the Hebrides
Ballad of a White Cow: Fighting Injustice (Edinburgh Review)
Annette: Bizarrely Out-of-Tune (Edinburgh Film Festival Review)
The Beta Test (Review): Some-Strings-Attached Sex
Mad God (Film Review): A Slice of Prophetic Delirium
Walk with Angels: Post-Apartheid Injustices (Edinburgh Film Festival Review)
Europa: Fear and Determination in Migration (Edinburgh Review)
The Justice of Bunny King (Edinburgh Review): Drama Done Right
Prince of Muck: A Life of Farming, Family and Cows (Edinburgh Review)
Titane (Cannes Review): Collisions of Flesh and Steel
False Positive (Review): A Melting Pot of Themes & Tones
Fathom (Tribeca Review): The Sound of Whales
The Perfect David: Aesthetic and Athletic Obsessions (Tribeca Review)
Director James A. Castillo on Madrid Noir (Tribeca Interview)
Do Not Hesitate (Review): War Drama Makes the Most of its Brief Runtime
Wu Hai (Tribeca Review): A Bleak, Hopeless Drama
The Lost Leonardo: Buzz and Fuzz in the Art World (Tribeca Review)
Catch the Fair One: Bleak but Thrilling (Tribeca Review)
Shapeless (Tribeca Review): An Unformed Psychological Drama
Glob Lessons (Tribeca Review): Indie Road Film Brims With Authenticity
All My Friends Hate Me (Review): Great Horror-Comedy for the Socially Anxious
Last Film Show (Tribeca Review): A Love Letter to Storytelling
Poser (Film Review): Questioning the Authenticity of Art
Mark, Mary & Some Other People (Review): The Ups & Downs of Open Relationships
Tribeca 2021: 20 Films to Watch at the Festival
Censor (Review): A Throwback to Video Nasties
The Other Side of the Underneath: “Strength is Madness”(Femspectives Review)
Our People Will Be Healed: Cree Culture (Femspectives Review)
10 Spectacular Shorts from SIFF 2021
Wyrm (Film Review): Popping Collars
Under the Open Sky: Kōji Yakusho Excels in Patient Drama (SIFF Review)
Mother’s Milk: An Entrancing Cinematic Odyssey (SIFF Review)
Father (Film Review): It’s the 21st Century
Captains of Zaatari: Skimming the Surface of Refugee Camps (SIFF Review)
Summertime (SIFF Review): An Electrifying Portrait of LA
The Dog Who Wouldn’t Be Quiet: Transient Bliss (SIFF Review)
Criollo: A Culinary Journey through Uruguay (SIFF Review)
Athanor – The Alchemical Furnace: Understanding Jan Švankmajer (SIFF Review)
The Unknown Saint: What Do You Believe In? (SIFF Review)
Caterpillars: Central African Republic Documentary Enlightens (SIFF Review)
The Shepherdess and the Seven Songs (SIFF Review)
The Legend of Hei: A Charming, Kid-Friendly Adventure (SIFF Review)
Sweat: The Woman Behind the Screen (SIFF Review)
Preman: Indonesian Thriller Disappoints (SIFF Review)
All Sorts (SIFF Review): The Surreal World of the Office
Strawberry Mansion (Film Review): A Journey Through Dreams
SXSW Online XR Took Us to Austin: Interview with Blake Kammerdiener
SIFF 2021: 10 Films to Watch
Alex Noyer & James Jagger on “Sound of Violence”: SXSW Interview
Under The Volcano (Review): The “Magic” of AIR Studios Montserrat
Stacey Gregg on Feature Debut “Here Before”: SXSW Interview
Rūrangi (BFI Flare Review): Celebrating Trans Representation
Clerk (SXSW Review): Funny and Surprisingly Touching Doc
Reklaw: Quirky Vigilantes Clean Up Well (SXSW Review)
Cowboys: An Intelligent Portrayal of Transgenderism (BFI Flare Review)
Language Lessons: A Heartfelt Ode to Human Connection (SXSW Review)
The Drover’s Wife The Legend of Molly Johnson: SXSW Review
Jump, Darling: Gloriously Funny, Seriously Touching (BFI Flare Review)
My First Summer: A Tender Tale of Young Sapphic Love (BFI Flare Review)
Mama Weed: Isabelle Huppert Elevates Comedic Crime Flick (FFF Review)
Writer-Director Elle Callahan on “Witch Hunt” (SXSW Interview)
Violet (SXSW Review): Justine Bateman Gives A Voice to Anxiety
Jocelin Donahue, Joe Swanberg & Mickey Keating on Offseason (Interview)
Violation (Film Review): Complex & Dynamic Genre Thrills
Sound of Violence (Film Review): Gory Midnight Fun
The Hunt for Planet B (Film Review): Masterful Doc of the Stars
Alien on Stage (Review): The Best “Alien” Film Since “Aliens”
Swan Song (Review): An Aging Hairdresser Looks Back on His Life
The Fallout (SXSW Review): A Truthful & Traumatic Teenage Tragedy
Women Is Losers (Film Review): Lorenza Izzo Is Winner
Witch Hunt (SXSW Review): Fantasy Thriller Tackles Today’s Troubles
Offseason (Film Review): Evocative & Exciting Horror
The Feast: A Slow-Moving Horror Drama Devoid of Scares (SXSW Review)
Paul Dood’s Deadly Lunch Break (Review): Revenge At Its Most Glam-Rock
United States vs. Reality Winner: A Plea for Freedom (SXSW Review)
The Return: Her Life After ISIS (SXSW Review)
Our Father (SXSW Review): The Complexities of Sorrow and Sisterhood
Broadcast Signal Intrusion (Review): Harry Shum Jr Falls Down a Rabbit Hole
Stop And Go (Review): COVID Road Trip Comedy is a Laugh Riot
Here Before (SXSW Review): Compelling Psychological Thriller
Potato Dreams of America: Coming of Age Dramedy Delights (SXSW Review)
Poly Styrene: I am a Cliché (SXSW Review): Study of a Punk Legend
Luchadoras: Harrowing Filmmaking Highlights Heroic Women (SXSW Review)
Nathaniel Kahn on The Hunt for Planet B (SXSW Interview)
Home Front (Des Hommes): Psychological Wounds of War (FFF Review)
SXSW 2021: 15 Films to Watch at South By Southwest
Danielle Kummer and Lucy Harvey on Alien on Stage (SXSW Interview)
In Bed with Victoria: A Comedic Drama on Modern Women (FFF Review)
Night Shift: (Un)Realistic Police Work (FFF Review)
Stephen Meek, Mallory Everton, & Whitney Call on Stop And Go (Interview)
Beans: The Youth Are Starting to Change (Miami Film Festival Review)
Love Affairs: Subtly Complex Love Story Enchants (FFF Review)
Quo Vadis, Aida? – Revisiting A Dark Era (Miami Film Festival Review)
The Translators: A Whodunnit, a Howdunnit, and a Whydunnit (FFF Review)
Ludi: From Struggles to Strengths (Miami Film Festival Review)
Surge (Review): A Sensory Pursuit for Primal Liberation
Sin La Habana: Anything for a New Home (Miami Film Festival Review)
Director Aneil Karia on Feature Debut Surge (GFF Interview)
Our Midnight: A Captivating Ode To Lost Souls (GFF Review)
Castro’s Spies: Detailed Documentarian Captivates (GFF Review)
A Brixton Tale: A Well-Edited Romance (GFF Review)
Sweetheart: A Charming, Heartfelt Coming of Age Film (GFF Review)
Tina Releases the Singer from her Past (Glasgow Film Festival Review)
Back to the Wharf Values Density Over Simplicity (GFF Review)
Vicious Fun: Clever, Ironic and Effortlessly Entertaining (GFF Review)
Iorram (Boat Song): Traditions and Tales of the Scottish Hebrides (Glasgow Film Festival Review)
Dreams on Fire (Review): A Fascinating Slice of Japanese Subculture
The Toll: Black Comedy Meets Crime From New Welsh Talent (GFF Review)
The Mauritanian: Exposé on Guantanamo Bay Educates & Enrages (Review)
Gunda (Glasgow Review): The Secret Life of Pigs
Jumbo: Coming-of-Age Shows Unconventional Love (Glasgow Film Festival Review)
Enemies of the State: A Reminder That Truth is “Never Simple” (Glasgow Film Festival Review)
Undergods: An Anthology of Despair (Review)
Riders of Justice (Film Review): Flawless Storytelling
Da Capo: School of K-Rock (Glasgow Film Festival Review)
Cody Calahan on “Vicious Fun” (Glasgow Film Festival Interview)
The Old School of Capitalism: An Intriguing Study of Workers’ Rights (Review)
Land and Freedom: What Does it Take to Win a Revolution? (Review)
Flee (Film Review): Moving Refuge Documentary
The World to Come (Film Review): Smart, Moving Period Romance
Lou Ward on Tinker: “Memories are What Make ‘You’ You” (Interview)
Land: Robin Wright ’s Solid Directorial Debut (Sundance Review)
Hive (Sundance Review): Rebellion In the Face of Patriarchy
One For The Road: A Heartfelt, Emotional Ride (Sundance Review)
Eight for Silver: Period Werewolf Film Thrills (Sundance Review)
Judas and the Black Messiah (Review): Kaluuya Dominates Dynamite Drama
Prisoners of the Ghostland: Nicolas Cage Fights For Humanity (Sundance Review)
The Sparks Brothers: The Sundance Review Fanfare!
Prime Time: A Claustrophobic Thriller With No Thrills (Sundance Review)
John and the Hole (Sundance Review): Mesmerizing Pyschological Thriller
Passing: Well-made Directorial Debut for Rebecca Hall (Sundance Review)
Cryptozoo (Sundance Review): A Kaleidoscopic Adventure in Animation
Mass (Review): An Immaculate Acting Showpiece
Try Harder!: The Hidden Cost of Being the Best (Sundance Review)
On the Count of Three (Review): A Tense, Exciting Black Comedy
How It Ends: Amusing Episodic Comedy (Sundance Review)
The Pink Cloud: Vibrant Surreal Cinema Anticipates Reality (Sundance Review)
CODA (Review): Silence is Golden in Deaf Family Dramedy
Seeds of Deceit (Review): Thought-Provoking Fertility Doctor Case Study
When We Were Bullies: Meandering Nostalgia (Sundance Review)
Force of Habit: a Claustrophobic Contour of the Female Gaze (Raindance Review)
Stardust (Review): A Bowie-Inspired, Bowie-Less Movie
Descent: A Free Dive into the Depth of the Human Mind (Raindance Review)
Sublet: The Lessons We Learn From Strangers (Newfest Review)
The Mystery of the Pink Flamingo: Inorganic Sexiness and How to Give In (Raindance Review)
Antarctica: a cynically comic high school drama (Raindance Review)
Materna (Raindance Review): a Female Portrait of the True New York Life
Under the Open Sky: A Clouded and Bleak Japanese Drama (AFI Fest Review)
Non Western: Love, Conservatism and Modern Women (Raindance Review)
Apples: New Memories, New Lives (AFI Fest Review)
Smith: Local Crime Mystery is Worth Supporting (Indie Memphis 2020 Review)
Monsoon (Review): A Smart Allegory for Vietnam’s Relationship with the West
So Late So Soon: Art in the Face of Death (Indie Memphis 2020 Review)
The Intruder: A Little Too Much Is Left to the Imagination (AFI Fest Review)
Nuevo Orden: Stimulating But Divisive Story of A Dystopian Mexico (AFI Fest Review)
Shadow in the Cloud: Deliriously Dopey Genre Fun (AFI Fest Review)
Collective: Timely Documentary Rewards Patient Viewers (AFI Fest Review)
After Love: a Film about Love and Revelations Distanced by the Channel (LFF Review)
American Thief: a Muddled Narrative Overshadows Some Good Ideas (Indie Memphis 2020 Review)
Ammonite (LFF Review): A Story Of Opposites Told Best By Hands
Rose: A Love Story – A Dark and Tender Romance Challenged By Illness (LFF Review)
Belushi: a Moving, Textured Portrait of the Beloved Comedic Actor (AFI Fest Review)
Nine Days: A Stunning Investigation on Life (AFI Fest Review)
Sound of Metal: The Beauty of Silence (AFI Fest Review)
Shiva Baby: A Short Film’s Evolution Into One of The Year’s Best Indies (Indie Memphis 2020 Review)
Cicada: A Tender Love Story Bolstered by Authentic Performances (NewFest Review)
Limbo (LFF Review): An Ode to A Past Identity
Wildfire (Review): Allegoric Tale of (Northern) Ireland’s Traumatic Past
A Common Crime (Un Crimen Común) Review: Political Drama Disguised as a Thriller
The Reason I Jump: a Sensorial Experience about Non-Verbal Autism (LFF Review)
Minari: A Beautiful Family Drama Steeped in Detail (Review)
French Exit (NYFF Review): Michelle Pfeiffer Shines in a Surrealist Comedy
Chess of the Wind (LFF Review): Rediscovered Iranian Drama is a Revelation
Undine: A Smart and Intoxicating Mythic Romance (LFF Review)
I Carry You with Me: a Deeply Moving Immigrant Love Story (Review)
Time: Delicately Made Documentary Beautifully Balances Hurting with Hope (LFF Review)
Supernova: Firth and Tucci Shine, But the Fireworks Do Not Go Off (LFF Review)
Farewell Amor (Film Review): “So We Danced”
Honeymood: What it Means to Be in Love with Someone, and with Yourself (LFF Review)