The result is an often frustrating, convoluted vérité-style documentary that conflates access with intimacy. Stans may be wooed by the promise of never-before-seen footage, but anyone unfamiliar with Jarad Higgins and his music will likely be lost.
What it dispenses in salaciousness fails to account for the lack of any meaningful undercurrent that might make the vulgarity interesting.
Lauren Hadaway’s The Novice is a powerful look at compulsion.
Paolo Sorrentino has made more luscious films, but he’s never made a more personal one.
While not a perfect film, National Champions does express the discourse around an important issue in a compelling way.
The film isn’t perfect by any means, but the new version rights many of the most egregious wrongs of the original.
George MacKay’s presence and physicality is perhaps one of the most compelling aspects of the film.
It feels like a phone call that could have been a text.
It should be called House of Gaga.
The film is a biting examination of Catholicism with a sly sense of humor.
Everything has a cost, and the cost of being an artist is not cheap.
The end is fairly predictable. The way it gets there is decidedly not.
Chekhov by electric lamplight, A24 style, for the holidays.
The Power of the Dog, Campion’s newest film in 12 years, is among the year’s best.
The chemistry of Mills’s cast is so compelling that it carries the film above the weight of its more navel-gazing moments.