“[L]ike the best soups, Here is a film that takes its time, lets its components simmer and comingle, develop their depth at a pace that feels natural.”
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“[I]f the placidity of the filmmaking inspires in you any sort of zen-like patience, then it will also disarm and entrance you in profoundly stirring ways.”
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“By emphasizing aesthetics […] Castel ignores the potent emotional currents that her actors work to channel and her script tries to suggest.”
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“[B]y stymying Ben in his narcissism, Park achieves both a less-clichéd depiction of Asian-Americans, and a fertile zone for urgent and reflexive cultural critiques.”
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“[T]his pool is far from a hyper-chlorinated oasis; rather, it is a fetid, acid-laced, and psychosexual stew, one that pulls characters and viewers alike down into the murky depths of amorality and churns them into husks of the humans they once were.”
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“Unless you’re particularly embittered, this film’s commitment to mining pathos from groan-worthy small talk is what will probably make you “come around” to it in the end […]”
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“The Flying Sailor renders the famed explosion as implosion in the mind of this sailor, as a lifetime compressed into a kaleidoscopic “flash” before one’s eyes.”
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“The Locust sees metafictional layer upon metafictional layer folded over a single, confined setting, where family members and crewmembers alike converge to battle for creative control over a filmmaker's personal passion project (and maybe life...?).”
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“Francesco Sossai’s Other Cannibals is a work of horror-realism so mired in its characters’ misguided meandering that it becomes something else entirely, a stark black almost-comedy of errors about two outcasts trying desperately to sink their teeth into life itself.”
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“The big goofy grin you’ll be wearing on your face throughout the runtime, that is pure Spielberg. Scene after scene of this film hits every big emotional beat that you want from a heart-on-its-sleeve, Hollywood production.”
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“Never has the Okanagan looked better—as rich and as lush—as in the frames of Jarvis’ film, Jeremy Cox’s gorgeous 16mm photography giving the area a tactility and a glow that digital simply couldn’t have offered.”
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