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Kristen Stewart

Reviews

Sacramento

Michael Angarano’s coming-of-age road movie Sacramento is a tragicomedy of sorts, though it’s more easygoing than that sounds. Rickey (Angarno) and Glenn (Michael Cera of Superbad and Dream Scenario) are intermittent pals, though Glenn is always suspicious of Rickey’s freewheeling personality and motives. Glenn is not only reluctant, but also highly anxious in general. Often comforted by his wife Rosie (Academy Award nominee Kristen Stewart) as she carries their first born, Rosie encourages her hubby to break…

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Love Lies Bleeding

By: Jolie Featherstone Filmmaker Rose Glass follows up her sharp horror film Saint Maud with Love Lies Bleeding – a grimy, sexy, wild ride. A stylistic and psychedelic blend of self-aware Americana meets noir, Glass delivers a heady acid trip of a love story.

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Crimes of the Future

As much as I would love to compare David Cronenberg’s Crimes of the Future to his earlier horrors, I’m afraid I’m unqualified because I haven’t seen enough of that catalogue.  However, I can see a contrast between the Canadian’s long-awaited return to filmmaking and his other recent dramatic work such as A History of Violence, Eastern Promises, and A Dangerous Method – all of which also star Viggo Mortensen.  Crimes of the Future, a gruesome…

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JT LeRoy

By: Jessica Goddard In a classic case of truth being stranger than fiction, JT LeRoy is especially interesting if you keep in mind its events notoriously did happen.  All the required overacting works, since the story is so bizarre and based on a sequence of such strange choices.

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Lizzie

Lizzie is a decent psychological slow burn, but its problematic pacing leaves me wondering if the film could’ve been stronger had it been workshopped more.  With his second feature film, director Craig William Macneill demonstrates his ability to build tension through taut silences and piercing instrumentals.  However, Bryce Kass’ script doesn’t match the filmmaker’s patience.

Reviews

Certain Women

By: Jessica Goddard A movie packed with subtlety and nuance, Kelly Reichardt’s Certain Women both wrenches the heart and flexes one’s critical capacities.  Do we have sympathy for this character because we authentically suspect they’re a good person in spite of their actions, or do we desperately want them to be a good person because we feel so deeply sorry for them?