Red Christmas isn’t afraid to raise complex moral questions and doesn’t back down from their stickiness, but ultimately there’s a lack of pushing the debate fully into tastelessness or a profound purgation.
Erica Genereux Smith clearly has a thing for telephones. And, office spaces. Or, I should say telephones in office spaces operated by women, to be more specific. It was the focal point of Are You With Me?, her short film from 2016 that landed on my year-end review of shorts last December.
If we were to go off of the film's mundane ruminations over the experience of knocking at death's door, the afterlife is an eternal purgatory of being forced to relive the most middling of direct-to-DVD horror films scene by scene.
The first half of Soy Nero is a good movie about a young, undocumented immigrant who navigates a labyrinthine system in a quest to achieve citizenship. The second half is an efficient, bracing war film about a small band of soldiers who are ambushed and have to navigate a desolate, dangerous desert.
I love the work of David Lynch, and while I did find this film to be an interesting watch, the Criterion Collection is a project aimed to gather and preserve important pieces of cinema; I just don’t think this release fits within that mold.
The Golden Circle still has its set pieces and its jaw-dropping moments of high-octane action and choreography, but I was stuck on whether or not we needed this much more of it in the grand scheme of things.
Grief and loss can push people to extremes, and Nathan Silver’s Thirst Street, co-written with C. Mason Wells, showcases a psychological character study of a flight attendant named Gina (played by Lindsay Burdge) who decides to make a new life for herself in Paris. A one-night stand with bartender Jérôme (Damien Bonnard) precipitates this decision, and her adoration for him leads to some undesirable outcomes.