LIVING (2022)
“Just watch Ikiru”
Read MoreLUNANA: A YAK IN THE CLASSROOM (2019)
“A sweetly touching story with gorgeous vistas”
Read MoreTHE LEDGE (2022)
“Unfortunately, this one quickly loses its grip and plummets to a hazy fate of obscurity and mediocrity”
Read MoreTHE LOST DAUGHTER (2021)
“I drank up the harsh and maladaptive take on the burden of children”
Read MoreLAST NIGHT IN SOHO (2021)
“A creepy but uneven love letter to vibrant giallo films postmarked by way of London.”
Read MoreLAPSIS (2020)
“science fiction satire about the gig economy, Big Tech, and the battle against stifling capitalism”
Read MoreLUCA (2021)
“it is disappointing that it wasn’t able to make a splash theatrically”
Read MoreLOVE AND MONSTERS (2020)
“I wanted the main character to parish”
Read MoreLUZ: THE FLOWER OF EVIL (2019)
“moments of splendor paired with the jumbled cultish familial strife”
Read MoreTHE LITTLE THINGS (2021)
“Trying to recapture the gritty and disturbed fortitude of 90s Denzel Washington crime thrillers, but failing”
Read MoreLUCKY GRANDMA (2020)
“enjoyable and chain-smokingly jaunty”
Read MoreLUZ (2019)
“evocative “retro fantastique”, but with a dour european oppression”
Read MoreLES MISÉRABLES
It isn’t the next La Haine
Read MoreTHE LION KING (2019)
“ if the surroundings are CGI, and the characters are CGI, and it is about anthropomorphized animals, with not a single pertinent live action element, is it live action?”
Read MoreLITTLE WOMEN (2019)
“I laughed, I kind of cried (welling up counts), and I relished near each moment.”
Read MoreLAST BLACK MAN IN SAN FRANCISCO (2019)
“Instantly unique, specifically gorgeous, and blatantly powerful”
Read MoreTHE LIGHTHOUSE (2019)
“A swirling cacophony of darkness, crashing water, creeping visions”
Read MoreLET THE CORPSES TAN (2018)
“beautiful visions of carnal pleasures and elicit violence groggily shimmy through your perception”:
Read MoreLEAVE NO TRACE (2018)
“Melancholic but hopeful, well realized despite its minimalism. “
Read More