film criticism by maryann johanson | 25 years: 1997–2022
The internal monologue that modern women have with ourselves gets externalized in this audacious and absolutely brilliant dramedy. Poignant, vulnerable, and almost shocking, in the best possible way.
Astonishing: sometimes oddly beautiful but mostly like sci-fi horror. An anti-meditation nightmare, a call to arms if only we were ready to finally address our thoughtless impact on planet Earth.
Two intimate documentaries about atypical paths to parenthood — or not — invite us to re-evaluate our assumptions, expand our thinking, and be more accommodating of the full spectrum of humanity.
An astonishingly beautiful coming-of-age story of startling specificity and intense intimacy, yet universal in its compassionate depiction of a child’s perspective dawning on mature self-awareness.
Gentle kook and visual frolicking bury emotion in this tale of a man mired in grief. Little of its head-scratching whimsy makes a melancholy landing; most just floats away on wisps of insignificance.
A dash of eco-optimism to counter global-warming doom and gloom. Gameau is an enormously engaging fact-based dreamer offering a much-needed mindset refresh and proactive actions we can engage in now.
If you like these sorts of movies, you’ll like this one, a solid SJW drama out to condemn, with plenty of evidence, profit-above-all capitalism that embraces willful negligence and corruption.
French New Wave icon Jean Seberg plays an unwitting game of cat-and-mouse with the FBI in a strangled blend of biopic and paranoid thriller. Not even always fascinating Kristen Stewart can save this.
Stylistically sophisticated and psychologically insightful, this is an exquisitely ambiguous and inventively disturbing mashup of body horror, demonic possession, and Lovecraftian science fiction.
Muckraking documentarian Alex Gibney on why Vladimir Putin is so dangerous, via the tale of a Russian oligarch of the post-Soviet era turned dissident. Vital context for the state of the world today.
