Everything Old Is New Again, Vol. 36 – February 2022
by Hunter Bush, Staff Writer
The name of the game here is Remakes, Adaptations and Legacy Sequels.
Sundance 2022 UTAMA, WATCHER & LA GUERRA CIVIL
By Gary M. Kramer, Staff Writer
Several exciting world premieres from, well, around the world. Here are three highlights from this year’s fest.
THE MIDNIGHT SWIM is a puzzling, incomplete indie, but it has Beth Grant
by Audrey Callerstrom, Staff Writer
The Midnight Swim has a crisis of identity, never fully committing to any genre of any of its grander themes.
Printing the Legend: Silent Starts
by Ryan Silberstein, Managing Editor, Red Herring
Many of the genre’s earliest stars and creators were those with firsthand knowledge of the actual West.
WARHUNT coasts on some wild elements and Mickey Rourke
by Whitley Albury, Staff Writer
Who doesn’t enjoy a WWII thriller with supernatural elements?
SIMPLE PASSION delves deep into sensual longing
by Gary M. Kramer, Staff Writer
Both modest and refined, Simple Passion is a well-made, good-looking tale of amour fou.
THE TIGER RISING is good, if slight, family entertainment
by Billy Russell, Staff Writer
For the movie’s few missteps, and plot threads that go nowhere, it successfully says what it wants to say about the trials and tribulations of growing up.
SUNDANCE 2022: Gary Kramer Interviews SPEAK NO EVIL's Writer/Director Christian Tafdrup
by Gary M. Kramer, Staff Writer
Speak No Evil, which has its world premiere this week at the Sundance Film Festival, is a wonderfully uncomfortable experience.
THE LAST THING MARY SAW combines queer themes, religious trauma, and body horror
by Whitley Albury, Staff Writer
It’s a gorgeous film, but there are several scenes that were far darker than needed, and it was hard to really appreciate subtleties.
STATION ELEVEN directly confronts pandemic life
by Jacob Harrington, Contributor
Station Eleven helped me work through and understand all the feelings the past two very strange years have left me with.
Read MoreEXPRESSO BONGO is an enchanting musical in the burlesque tradition
by Hunter Bush, Staff Writer
If you come to Expresso Bongo for the bongos, know that you’re going to be a little disappointed, but in literally all other regards, it’s a fully enjoyable viewing experience and a beautiful transfer.
IN THE STRANGE PURSUIT OF LAURA DURAND is scrappy but doesn't find new ground to explore
by Whitley Albury, Staff Writer
There’s something so enjoyable about forced proximity stories.
Sundance 2022 Preview: Kicks's Flick Picks
by Rosalie Kicks, The Old Sport
On January 28, I will embark on my third year of covering the Sundance film festival and, like many things as of late, it could not look more differently.
Read MoreDELICIOUS is a sweet treat that sometimees tastes bitter
by Miguel Alejandro Marquez, Staff Writer
Delicious is not a bad film, just a painfully obvious one.
BELLE draws on Western stories to tell a postmodern fable about healing
by Ryan Silberstein, Managing Editor, Red Herring
While some may complain about the familiarity of some stories, especially animated films that lean on fairy tales, I find them endlessly interesting.
SCREAM has a lot of fun stabbing at the extremely online crowd
by A. Freedman, Staff Writer
This is by far the goriest and bloodiest of any Scream movie.
Sundance 2022: Gary's Flick Picks
by Gary M. Kramer, Staff Writer
I am once again excited to be covering Sundance this year. While I expect I will see most of those films, the titles that most interest me at any festival are the ones to discover.
THE WHALER BOY transports you to the Arctic Circle
by Stacey Osbeck, Staff Writer
Philipp Yuryev took a reserved tack in bringing this atmospheric story to life.
PARALLEL MOTHERS explores the echo of the past in the present
by Ryan Silberstein, Managing Editor, Red Herring
This was my first experience with Almodóvar, but I am looking forward to diving further into his work.
BORREGO is a watchable yet uninspired action thriller
by Matthew McCafferty, Staff Writer
The stakes never feel very high. There are too many distractions that take away from whatever kind of stakes the film tries to develop.