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  • Summer 1993

    Summer 1993


    With some subtle cinematography and sly editing, and without the aid of any melodrama or magical realism, Summer 1993 attempts to capture the complex inner life of a child adjusting to the aftermath of trying externalities.  The end result is authentic and sublime.  There are no hammy self-aware performances, poverty porn manipulations, or Hail Mary finales - in other words, writer/director Carla Simon gets everything right that Sean Baker got so wrong (The Florida Project).  But this Spanish film is also a distinctly quiet affair, which is probably why it has almost no marketing push in the U.S. and virtually nonexistent buzz.

  • Set It Up

    Set It Up


    It’s no Definitely, Maybe; but the ridiculously charming Zoey Deutch could pass for Isla Fisher’s MUCH younger sister, and that’s enough for me to officially classify this as a guilty pleasure.

Popular reviews

  • La La Land

    La La Land


    It's 2016. Among our prime A-listers, we don't have a Fred Astaire or Ginger Rogers; hell, we don't even have an Olivia Newton-John or John Travolta. What we do have is Emma Stone and Ryan Gosling (Crazy, Stupid, Love (2011), Gangster Squad (2013)) and a talented director (Damien Chazelle) who has the audacity to create an original musical in 2016 (as opposed to adapting/stewarding a Broadway franchise). With Chazelle's invocation of nostalgia for a once dominant cinematic form and generous…

  • Gone Girl

    Gone Girl


    After an unnecessary remake, an above-average biopic, and an adaptation of a half-baked short story, it’s damn good to see director David Fincher back on his game – or I should say, The Game (1997), because that’s Gone Girl‘s closest touchstone to any of his other films. That said, Gone Girl works much better as exercises in role-playing go, and the difference is Gillian Flynn – the author of the best-selling novel and sole writer of the screenplay. Together, they craft pulp fiction of the highest order ...