For one glorious week, documentarian and pioneer of direct cinema Albert Maysles’s last film, the posthumously released In Transit (2015), was free to watch online. In a fine bit of irony, it was Maysles’s death that threw the film’s distribution into limbo. Co-directed with Lynn True, David Usui, Nelson Walker III, and Benjamin Wu (everyone also shared cinematography duties, except True, who edited), the film boards the Chicago-St. Paul/Minneapolis-Spokane-Portland/Seattle Empire Builder, the busiest cross-country train in the US, in search of passengers’ stories. You think you know where this is going (sorry), and you do—but knowing is one thing, experiencing another.
Continue reading “The Journey Is the Reward: In Transit (2015)”
Did you know that Poland has a fake priest problem? You’d think parishioners would catch on pretty quickly, but apparently some of these impersonators are sincere in their ministries, lacking only the credentials. What would drive someone to be a sincere fake priest? How might they handle their duties? Corpus Christi (Boże Ciało 2019), a religious high-wire act based on a true story, offers one tantalizing example.
Continue reading “False Prophet: Corpus Christi (Boże Ciało 2019)”
People often say that you need to be objective to be a good critic, but I’ve often found that being invested in a work can illumine more pathways into what it’s trying to do and how well it succeeds. Of course, it’s not necessarily a “better” perspective, whatever that means, just a different one. Being a Swiftie, I find the Taylor Swift on screen in Lana Wilson’s Miss Americana (2020, aka Taylor Swift: Miss Americana) to be a familiar presence from all of the interview and behind-the-scenes footage of her that already exists, some of which is used in this documentary. As Swift suggests in an early interview, also included, fame and career longevity have always been on her mind, and the film grounds such abstract musings in raw and emotionally vulnerable moments, captured as they happen.
Continue reading “The Lucky One: Miss Americana (2020, aka Taylor Swift: Miss Americana)”
Chinese New Year is almost upon us, a time for family and reflection—the perfect context in which to see Chinese director Wang Xiaoshuai’s So Long, My Son (Dijiutianchang / 地久天长 2019). The Chinese title is also the title of the Chinese translation of “Auld Lang Syne,” and the two feel similar. And this is film whose (Taiwanese) trailer accurately reflects its feeling as well. It was my best theatrical experience of 2019.
Continue reading “The Moral Arc of the Universe Bends Toward Compassion: So Long, My Son (Dijiutianchang / 地久天长 2019)”
I don’t understand the visceral hate of Cats (2019), the latest offering from Tom Hooper. It’s a perfectly respectable recording of a stage musical performance, touched up with a bit of CGI.
What? It’s meant to be a film, you say? Well, that does change things considerably.
Continue reading “Ceci n’est pas un film: Cats (2019)”
My review of Portrait of a Lady on Fire (Portrait de la jeune fille en feu 2019) has been published at The News Lens International. Check it out here!
My review of The Gangs, the Oscars, and the Walking Dead (Jianghu Wu Nanshi / 江湖無難事 2019) has been published by The News Lens International. Though it isn’t a festival review, I caught the 2019 Golden Horse Film Festival screening, and the review benefits from a post-screening Q&A with the director, female lead, and one of the male leads. Check it out here!
Notes on an Appearance (2018), writer-director-editor Ricky D’Ambrose’s no-budget feature debut, runs an hour long but feels much longer, in both good ways and bad (the good and bad are mutually constitutive). D’Ambrose has made two shorts before, using them as experiments to prepare for Notes, and the thought and consideration that went into this film shine through.
Continue reading “The Banality of Evil: Notes on an Appearance (2018)”
You don’t need me to tell you that Angel Has Fallen (2019), directed by Ric Roman Waugh, is pretty damn shitty. The incoherent action sequences (edited by Gabriel Fleming), including one that’s so underlit as to be literally incomprehensible (cinematography by Jules O’Loughlin), is par for the course in today’s action blockbuster (or “blockbuster”) landscape, but you know something’s really wrong when even the dialogue scenes are confusingly shot. Secret Service agent extraordinaire Mike Banning (Gerard Butler) returns for another round of mayhem in this third installment of a franchise whose first installment was already inferior to another film released around the same time and with the same premise, White House Down (2013). I wish Jamie Foxx had gotten the threepeat treatment instead.
Continue reading “A Living Cinematic Fossil: Angel Has Fallen (2019)”
What if the titular protagonist of Constantine (2005) was a mixed-martial arts fighter? What if he was really, really good? What if he could burn demons with his bare hand? Writer-director Kim Joo-hwan’s The Divine Fury (Saja / 사자 2019) answers these questions we never thought we had.
Continue reading “The Flaming Fist of Christ Compels You! The Divine Fury (Saja / 사자 2019)”