It Must Be Heaven [2019]: ‘MAMI’ Review – An Absurdist Observational Comedy Wrapped in a Meta-Critic of Political and Societal bounds
The first thing you will notice about Elia Suleiman’s ‘It Must Be Heaven’ is its delirious comic tone. This absurd…
Laura [1944] Review – An Exceptionally Stylized Noir Mystery
Otto Preminger’s Laura (1944) is ranked no. 4 in the American Film Institute’s (AFI) list of the greatest films in…
The Last Black Man in San Francisco (2019) ‘BFI LFF’ Review – An Atmospheric tale of Gentrification
As tender as it is slow, Joe Talbot’s ‘The Last Black Man in San Francisco’ is an atmospheric tale of…
A guide to the worst reviews on Joker
In this particular era of film criticism and journalism, it wasn’t hugely surprising to see some reviews and opinion pieces about Joker that were hot flaming piles of wet garbage. So I took a look at the absolutely stinkiest ones, so you don’t have to.
Judy (2019) ‘MAMI’ Review: A celebration of the life and work of Judy Garland
Judy Garland is a name known to most Hollywood musical aficionados and fans of yesteryear films. Born Ethel Francis Gumm,…
Meek’s Cutoff (2010) Review: A Transcendent Tale of Morality
Meek’s Cutoff (2010), the fourth feature from director/editor Kelly Reichardt, is a transcendent morality tale that, like Chloé Zhao’s The…
Sorry We Missed You [2019] ‘MAMI’ Review – Repercussions of shifting Gig-economy
In the “digital information” age, the political and economic power lies with those who have unprecedented access to ‘data’ commodity….
The Fiances (I Fidanzati) [1963] Review – Love Lingers in a Parched, Industrialized Land
“The Fiances (I Fidanzati, 1963) zeroes-in on the solitary longing of a stolid, young blue-collar worker wandering through the bright,…