Hugh Grant Delivers an Unbelievable Performance, and more! Streaming Guide: Week of December 10 2024
New on Streaming Guide for the week of December 10 2024 from Films Gone Wild.
VOD REVIEWS: Philip Gelatt’s THEY REMAIN takes you for a terror-filled hallucinatory trip into the woods
Combined with Kirby’s imagery, that Lovecraft feel is more than complete – it makes us really, really uncomfortable. They Remain leans heavily on such classic audiovisual tropes which can evoke everything from Universal Monsters to the Haunted Mansion ride at Disneyland, but bent towards that Dunwich Horror sort of ethos. Which is to say – there’s nothing cartoonish or “safe” about the film’s horror.
HOT DOCS 2018 REVIEWS: Daniel J. Clark ‘s BEHIND THE CURVE takes an empathetic and civil look at the people inhabiting the Flat Earth Society
What stands out in the film is just how much the flat earthers simply need to believe what they believe. It’s kind of like refusing to believe that OJ was guilty or maybe even letting go of the Santa Claus myth. The characters in the film are all too familiar. They’ve chosen to attach their identity to this belief system, and it means everything.
TRIBECA 2018 REVIEWS: Michael Epstein’s HOUSE TWO is a riveting documentary that may just implicate a sitting cabinet member in the coverup of a war crime
Viewers will walk away from House Two with a strong feeling that this entire case was a gross miscarriage of justice. Epstein is aware enough of the truth, yet maintains a neutral tone in the film so as to not overly influence his audience.
TRIBECA 2018 REVIEWS: Michael Epstein’s HOUSE TWO is a riveting documentary that may just implicate a sitting cabinet member in the coverup of a war crime
Viewers will walk away from House Two with a strong feeling that this entire case was a gross miscarriage of justice. Epstein is aware enough of the truth, yet maintains a neutral tone in the film so as to not overly influence his audience.
TRIBECA 2018 REVIEWS: Ioana Uricaru's LEMONADE is a reflection of our strife and a triumph for the power of great cinema
In the best of circumstances, a film will create a language for itself. An internal yearning in the artists involved, from the writer and director to the actors on screen, pushes for expression using the medium to its best advantages. It’s an exceedingly rare thing which requires not only honesty and careful creativity, but also a great deal of courage. From before the first shot appeared on screen, it was already clear: first-time feature Romanian director Ioana Uricaru had forged such a language.
TRIBECA 2018 REVIEWS: Bill Oliver's feature debut JONATHAN is a sci-fi mind game that scores and shows real promise for the new director's next projects
Bill Oliver’s first feature film Jonathan arrives into a sort of renaissance moment for sci-fi anthology tales. Employing near-future brain science tropes reminiscent in some ways of last year’s Get Out, fans of the British Netflix series Black Mirror will be able to jump right into this literal mind game of a movie.
TRIBECA 2018 REVIEWS: Stephanie Wang-Breal’s documentary BLOWIN’ UP about the real heroic efforts to give sex workers a shot at a different life delivers some emotional gut punches
By the end of the film, some of the life changes the attorneys go through are disruptive enough, the audience is left wondering if their good work will be undone by their own circumstances. It was hard to not to cry, and even feel ashamed. After all, we’re all part of the system of cruelty, injustice and vengeance which works harder to take down street-level ladies while their abusive masters most often live well.
TRIBECA 2018 REVIEWS: Marco Proserpio’s THE MAN WHO STOLE BANKSY may have more lasting impact than some of the short-lived street art it’s talking about
perhaps that’s Proserpio’s ultimate achievement here. He gets us to think about what it is we do, what it is we love, and what it is that motivates us, all in the microcosm of one humble Banksy work. It’s fair to say, this documentary may have more lasting impact than some of the short-lived street art it’s talking about.
TRIBECA 2018 REVIEWS: Ondi Timoner’s MAPPLETHORPE features a spot-on performance by Matt Smith
The artist just refused to give of himself to the people around him. Perhaps the film made that decision, too. Those missing pieces we yearn for simply might not be available, just as the artist refused to make his own soul available to those closest to him. Except, of course, through his art – but that was only incidental.