After wowing audiences with his feature-length debut The Witch, writer/director Robert Eggers takes a big swing with The Lighthouse – a film with more specifications and fewer actors. His latest film connected with many (our own Shahbaz Khayambashi loved it at TIFF), but it didn’t work for me. I can appreciate the dedication of Robert Pattinson and Willem Dafoe (which translates into their memorable performances), but the actors are wasted on a movie that’s too muddled…
The Farewell is a universally identifiable gem of a family dramedy.
“This makes me want to puke. Sorry, this came into my head. Sorry.” These were the words spoken by Robert Eggers, before he made a point about the relationship between Andrej Tarkovsky and Fyodor Dostoevsky. The singular voice behind the instant classic The Witch and The Lighthouse provided evidence of two important parts of his personality: the first being his self-effacing tendencies despite how well-read he is—after all, any great artist is first a great student—and…
When Robert Eggers appeared on the cinematic scene with The Witch at 2015’s Sundance Film Festival, he exposed untold new ways to tell horror stories. So, what can someone who has already reinvented a genre do to follow up such a work? Eggers decided to use a similar formula—mainly the research of authentic historical documents that went into the screenplay’s creation of horror—to tell a brand-new story. The results are great.
With The Witch, Robert Eggers showed the world that there were untold, new ways to tell horror stories. So, what can someone who has already reinvented a genre do as a follow up? Eggers decided to tell a new story based on the research of horrific authentic historical documents, and it works.
Swimming in foreplay and misogyny, After is PG-13 fodder that doesn’t even deserve your morbid curiosity.
By: Jessica Goddard A poignant and sincere exploration of family, loyalty, and cultural divide, The Farewell turns its writer-director’s quirky anecdote into effective drama.
A bunch of different ideas coexist in The Beach Bum, but they never truly come together.
From my experience, audiences usually like when a movie shifts into high gear right off the hop; especially if it’s an action movie. The Kid does just that. Using a pair of young fugitives as a vessel for the audience, the film essentially starts in the middle of a power struggle between Pat Garrett (Ethan Hawke) and Billy ‘The Kid’ Bonney (Dane DeHaan).
Gloria Bell is eventually invigorating. “Eventually” usually has a negative connotation, but not in the case of Sebastián Lelio’s movie. After all, the search for one’s identity isn’t going to be easy.