With the year half over, we look at the best of 2018 cinema outside theaters, from TV hits to music videos; from ‘Killing Eve’ to Childish Gambino.
Author Archive | Lena Houst
In a year when progress for women and people of color was highlighted, the lack of woman-directed winners still feels glaringly apparent.
A gorgeous, yet blundering, adventure, Studio Ponoc’s ‘Mary and the Witch’s Flower’ fumbles in finding its own authentic voice in Ghibli’s wake.
From Greta Gerwig to St. Vincent, Lena bends the definitions of film in her unconventional list of 2017’s best cinematic experiences.
A cherished tradition in film critics circles by now, we rank all of David Ehrlich’s End of Year Video Countdowns from Worst to Best.
Vivid, intense and necessarily wrenching, ‘BPM: Beats Per Minute’ brings ACT UP’s AIDS activism to pulsating, searing life amidst death.
An adorable child’s eye romp, ‘The Florida Project’ gradually reveals heartbreaking reality that lend a devastating kick to Sean Baker’s childhood fantasy.
While we’re covering the 2017 New York Film Festival, keep an eye on our regularly updated diary of opinions and articles from the fest.
NYFF sidebar films ‘Occidental’, ‘El mar la mar’ and ‘Did You Wonder Who Fired the Gun?’ manifest prejudice & empathy strikingly inventive ways.
NYFF Projections doc ‘Good Luck’ and Main Slate thriller ‘Western’ both focus on the physical, political and psychological tolls of commissioned labor.
As its latest season facing viewer backlash and stakes rise for the finale, how might changing its directing team save ‘Game of Thrones’?
Two brawny, male-focused war thrillers, ‘Dunkirk’ and Fox’s ‘Apes’ finale capture an excitingly tense same-sex psychological intimacy.
A sharp, yet chaotic, black comedy, Marianna Palka’s ‘Bitch’ is more bewildering for its feminist critique than for its feebly dominant characters.
Wrenching, gorgeous and often suffocating, Andrew Dosunmu’s ‘Where is Kyra’ is a brutalizing descent into hopeless poverty.
Formally exquisite, yet disarmingly soulful, Kogonada’s ‘Columbus’ is lovely, lyrical film about how art makes us at once richer and smaller.
A serene and sublime dual character study, ‘Princess Cyd’ turns queer coming-of-age into a profoundly empathetic, naturalistic fairy tale.
An oblique journey into the wilderness of young masculine rage, ‘The Strange Ones’ struggles to resonate beyond its unnervingly disciplined craft.
Sadly scooped up by Netflix, ‘The Incredible Jessica James’ is a warm, enthusiastic Jessica Williams showcase that deserves a big screen spotlight.
Schmaltzy, stilted and winningly inclusive, Jennifer Reeder’s ‘Signature Move’ is a charming, if messy, wrestling-fueled rom-com.
A modern noir classic about suffocating celebrity, Aaron Katz’s ‘Gemini’ is as humanely funny a comedy as it is a strikingly stylized thriller.