PITY Review
Babis Makridis & Efthymis Filippou’s latest black comedy is a shocking critique of the wealthy’s unending appetite for all things, even the unappealing.
Babis Makridis & Efthymis Filippou’s latest black comedy is a shocking critique of the wealthy’s unending appetite for all things, even the unappealing.
Time for the second half of my Top 50 of 2018. Time to put an end to the longest year on record. If you missed the first half of this list (#50 – #26), it can be found here:
Before I dive into my yearly list of the top 50 films that I recommend I would like to list some of the films that I was unable to watch, for one reason or another. Either they never came my way or
Just yesterday, I posted my favorite male performances from the past year and now it is time for my favorite female performances from 2018. And just like with the list yesterday there are listed in no particular order. If anyone is
It’s that time of year again. Where I compile all of my favorite performances from the past year and, here, I am going to start with the male performances that affected me most. These range from dramatic turns to the comedic to
Shadow of a Gun seems to have taken the concept of ‘Chekhov’s Gun’ to a new level by employing it long before any acts have transpired.
Soon after the death of Freddie Gray, at the hands of the Baltimore Police Department, is where documentary filmmaker Marilyn Ness places herself for her latest film, Charm City.
Writer/director Brandon Colvin is currently crowdfunding his third feature titled A Dim Valley, which will be his follow-up to Sabbatical, a film that landed on my Year-End Best Of list at No. 4 back in 2015. It is also a film
Fail to Appear is a showcase of the power of help and support, both big and small, with small sometimes being the most important.
Girls Always Happy is at once light and breezy, much in the way that Wu (Yang) maneuvers through the alleyways on her scooter, while also being acerbic and gloomy as its lightness is intermittently pulled towards the latter, attaining a certain poignancy therein.
Writer/director Sam Kuhn seems to have an affinity for the forest; seeing it as a miraculous space, beckoning those to enter and explore, enticing any and all with the allure of some fantastical quest or an objective that will reveal one or two illuminating truths or, at the very least, the promise of respite from the day-to-day trivialities life has to offer.
Viewers acquainted with the work of writer/director Ricky D’Ambrose will find themselves in familiar territory with his first toe-dip into feature-length filmmaking with Notes on an Appearance.
directed by HELENA WITTMANN // Germany // 95 minutes
With a gossamer thread, Helena Wittmann fashions a scant narrative with her feature-length debut, Drift; delicate and nearly non-existent, it is the type of
Reis and Guerra’s Djon África is a travelogue, broadly covering the numerous corners of the island nation of Cape Verde while a journey of self-discovery plays out concurrently with Miguel inhabiting the role of main character and an unknowing host, of sorts, treated like a tourist in his own homeland.
Mona (Eleanore Pienta) doesn’t have much outside of a cashier’s job at a local grocery store that pays the rent (it doesn’t actually) for her yellow, floral-print room; which is just that, a room,
Just recently I stated that, when it comes to films featuring cinematography from Sean Price Williams, it would be nearly impossible for me to view the overall project as anything less than worthwhile based on this simple fact alone.