Reviews
The premise is that Pontypool is the epicenter of a language-based psychosis that turns the afflicted (who turn out to be anybody within earshot of the infected) into dead-eyed shufflers whose mouths are stuck hopelessly on repeat—that is, when they’re not chowing down on fellow human beings.
Rough around the edges though it may be, director Lee Isaac Chung’s film is an intermittently lyrical and genuinely affecting work that at times even emits the shock of the new.
Assayas captures the philosophical and emotional subtext of each of these mundanities with a delicate and droll touch, as the silences and spaces between the characters continually threaten to pierce the film’s austere surface and reveal the depth of the family drama underneath.
The best thing about Guest of Cindy Sherman, Paul H-O and Tom Donahue’s shaggy dog documentary about H-O’s unlikely love affair with art star Cindy Sherman, is its unpredictable trajectory.
Against all the odds facing the indigenous filmmaker, he’s carved out a recognizable worldview and sets of concerns, populated his work with indelible, rounded characters, and worked his way through an emerging individual aesthetic.
Rudo y Cursi is an eager-to-please, mainstream entertainment machine. But as in a well oiled, whirring contraption that skips a gear, the moving parts never click into a working film. Tap on it and it topples.
Is the beginning even the beginning? It’s a question I posed in my head about halfway through Jim Jarmusch’s The Limits of Control, first literally and later philosophically.
Spirited, exciting, and richly entertaining though it may be, the latest Star Trek doesn't even try to be a good Star Trek movie—and by the standards of the franchise, it certainly isn't (this seems to be Abrams's apparently successful trick).
Christian Petzold’s Jerichow plays like a modern riff on The Postman Always Rings Twice, with a globalized European spin.