Fantasia 2021: IT’S A SUMMER FILM! Review
It’s a Summer Film! is a loving testament to the indomitable spirit of young cinephiles that overwhelms with charm.
It’s a Summer Film! is a loving testament to the indomitable spirit of young cinephiles that overwhelms with charm.
Office Royale is a delightful sendup of manga tropes that delivers on its promise of absurd clerical action.
You Can’t Kill Meme is an enigmatic look into the insidious ways meme culture developed after the 2016 election which proves too arbitrary in its focus.
#Blue_Whale is a refreshingly grounded approach to the screenlife film that terrifies due to its credible inventiveness.
Wonderful Paradise throws everything at the wall, and even what doesn’t stick is still bizarrely fascinating.
Junk Head is a momentous labor of love and a meticulously designed vision of a post-apocalyptic future.
Shunji Iwai’s pseudo-kaiju film proves we still have yet to crack the enigma and nuances of pandemic filmmaking.
Satoshi Kon: The Illusionist offers an informed and affectionate tribute to one of anime’s overlooked masters.
Undine is a moving romance that puts a fresh spin on a classic fairytale.
For all the familiar notes it hits, you can’t fault Blast Beat for it’s full-throated earnestness.
A title like The Killing of Two Lovers is more than just a punchy hook to draw in a receptive audience who aren’t looking for any surprises; it is a promise of payoff that will loom over the plot and threaten to
The Virtuoso is a flaccid thriller that fatally mistakes meticulousness for depth.
With About Endlessness, writer-director Roy Andersson continues finding success with his unique brand of introspective cinema.
At Night Comes Wolves tries to be many things but never finds solid footing with any of them.
A rare film like Language Lessons demonstrates that the Zoom call structure has potential for honest, effective drama and comedy, even when restricted to a desktop.
The Spine of Night is the type of film that proudly wears its obvious inspirations on its sleeve and plays out like a pastiche for an audience that is very much in the know for what it is going for. Philip Gelatt