Dark Touch review: Carrie on and on
Elegantly atmospheric indie horror drama plumbs typically unseen depths of children’s coping mechanisms in the face of terrible real-life experience.
girls/women
Austenland review: bomb and bombasticity
Austenland, allow me to tell you how ardently I loathe and despise you.
As I Lay Dying review (London Film Festival)
If this isn’t a deliberate parody of furiously solemn, self-conscious artistic pretension, it’s an accidental one.
Jewtopia review
An appalling array of hideous ethic and gender stereotypes is what passes for “humor” in this pitiful excuse for a comedy.
Cold Comes the Night review: eh, lukewarm, anyway
A familiar-feeling crime thriller is enlivened by unexpectedly down-to-earth, hardbitten characters weighed down by the mundane weariness of life on the edge.
The Call review: the call is coming from inside the movie!
The familiar serial-killer flick gets a welcome shakeup, smashing to smithereens the tired trope of woman-as-victim and offering a bracing new perspective on an oft-told tale.
In a World… review: the sound of her voice
A fresh, funny slice-of-life, casually cutting in its feminism and utterly charming in its storytelling.
Museum Hours review: life as art
A little bit like a travelogue, a little bit like people-watching, this is simultaneously a relaxing and invigorating cinematic experience. Simply magnificent.
Bounty Killer review
The genre equivalent of soft-core porn: it doesn’t care how strained and derivative it is as long as it is delivering flying bullets, fast cars, and closeups on women’s sashaying asses.
The Mortal Instruments: City of Bones review
Way to give overwrought fan fiction a bad name. No amount of fairy dust can make this bewitching.
