Film Cred

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  • Hommage

  • Elvis

  • RRR

  • Jerry & Marge Go Large

Recent reviews

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  • Hommage

    Hommage

    "The idea of making a film for movie lovers often feels too on the nose with cutesy jokes and meta references. Hommage is a rare work that is able to convey these deep emotions simply. The film understands what it’s like to not only love movies, but to love the process of creation. To obsess over words in a script, chase down missing reels, and to fight to make something that outlives you. Ji-wan, like the audience who will seek out this film, is a film lover first and foremost."

    Read more of Tina Kakadelis' review here

  • Elvis

    Elvis

    "The one bright spot in the nightmare that was 2018’s Bohemian Rhapsody was a renewed focus on another film: 2007’s Walk Hard: The Dewey Cox Story, by director Jake Kasdan. This film, a spoof of the musical biopic inspired most directly by James Mangold’s then-recent Walk the Line, has only become more comically potent as time has passed and the genre’s formula has been further codified. Amongst many other things, it was Rhapsody’s deference to the tropes that had been…

Popular reviews

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  • The Power of the Dog

    The Power of the Dog

    "Campion’s austere command over the (in)visible reveals itself in the specter of time as we watch the gradual disintegration of a repressed soul. Through the folds of sunlight and shadow a mountain ridge yields, we see all of Phil, yet, we know nothing. The darkness lies in Cumberbatch’s snarl, under the suffocation of his vacant gaze; yet the sun of his charm persists. His wickedness is a puzzle: the world feels beneath him, his formidable wit surrounded by asinine bozos, something only mollified by well-placed insults."

    Read more of Dylan Foley's review here

  • My Name Is Pauli Murray

    My Name Is Pauli Murray

    "It is a shame, then, that a figure as inspiring as Pauli Murray is rendered with such uninspiring filmmaking. The documentary is simply not cinematic enough. It is bogged down by lengthy on-screen text — quotes, love letters, bills, newspaper cuttings, doctors’ reports, legal documents, you name it — that, coupled with the overreliance on slow pans across archive photographs, stunts the film’s rhythm and makes it visually flat. Devices that are initially effective, such as tension-building split screens that show Murray facing off with powerful, sometimes ideologically opposed figures, grow tired through excessive use."

    Read more of Yasmin Omar's review here