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‘Desert Road’ Review: Horror Meets Sci-Fi In A Ghost Story With Soul – SXSW
The real story begins long before you know it in Desert Road, a very smart, trippy chiller that plays with the conventions of survival horror and takes them in a wholly unexpected and, ultimately, really quite moving direction. Making her directorial debut…
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By Damon Wise
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‘Sew Torn’ Review: Freddy Macdonald’s Strange, Striking Neo-Noir Is A Great Discovery – SXSW
"Choices, choices…," says the narrator, a young seamstress, in this strange and striking debut from Freddy Macdonald. A neo-noir in the early Coens tradition, Sew Torn also features a bold tri-part structure in which the heroine, Barbara (Eve Connolly) — like Lola before her in Tom Tykwer's Run Lola Run…
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By Damon Wise
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‘Timestalker’ Review: Alice Lowe’s Python-esque Anti-Romcom Is A Dark And Bloody Delight – SXSW
Love never dies, but a lot of people do in Alice Lowe's gloriously bloody valentine to the romantic comedy. Spanning so much time that it practically goes back to the beginning of it, Timestalker is an ambitious project that not only works, it coheres in a way that cements Lowe as a genuine and quite…
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By Damon Wise
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‘A Traveler’s Needs’ Review: Isabelle Huppert Plays A Woman Of Mystery In Hong Sang-Soo’s Frustrating Character Study – Berlin Film Festival
Korean director Hong Sang-soo is such a Berlinale favorite that his film in competition, featuring Isabelle Huppert as an apparently penniless tourist trying to scrape together a living in Seoul, is his sixth film to be invited to the festival since 2020 — remarkably, that’s not even his entire output…
‘Amerikatsi’ Review: Armenia’s Oscar Submission Is A Wayward, Blackly Comic Tale Of Hope
There's a lot to take in and even more to process in American-Armenian director Michael Goorjian's ambitious period piece: What he's tilting at here is not beyond the realms of comedy, as Armando Iannucci proved with his 2017 jet-black satire The Death of Stalin. But tone is crucial, and Amerikatsi has a…
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By Damon Wise
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‘Shayda’ Review: An Iranian Mother Fights For Her Daughter’s Future In Australia’s Powerful Oscar Submission
Danger is never very far away in Noora Niasari's confident debut, a deeply personal tribute to a generation torn between tradition and modernity. Focusing on the title character, Shayda hangs on a vulnerable but powerful performance from Holy Spider's Zar Amir Ebrahimi as an Iranian divorcée hiding out…
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By Damon Wise
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‘Inshallah A Boy’ Review: Amjad Al Rasheed Eviscerates Misogyny In Oscar Submission From Jordan
When a man dies, intones the leader of a women's wake, the light goes from the home. Nawal (Mouna Hawa), who has woken to find her increasingly tired husband Adnan has died in the night, bows her head with her accustomed piety as her very existence is erased by this prolonged eulogy to the man who is…
‘Tótem’ Review: Lila Avilés Shows Extraordinary Eye For Detail In Oscar Entry From Mexico
When Tonatiuh was at school, he was voted his year's "Beach Boy," a prank version of Miss Universe. As part of a town parade, hunky Tona was a "vision, slinking down the street," remembers an old classmate in one of many stories being swapped at the now 30-something beach boy's birthday party…
‘Fear The Walking Dead’ Series Finale: Colman Domingo On Victor Strand’s Journey, Spinoffs & Finding The Right Way To Say Goodbye
SPOILER ALERT: This article contains details of the series finale of Fear the Walking Dead, which aired tonight on AMC.
"At first it was written to be very, flowery and beautiful and wonderful hugs and loving," reveals Colman Domingo of the final partings in tonight's Fear the Walking Dead series…
‘Finestkind’ Review: Family Tensions Come To The Surface In Brian Helgeland’s Multi-Purpose Boston Drama – Toronto Film Festival
For an hour, Finestkind is the kind of movie they don't make any more, and just when you're starting to adapt to its gentle, circadian rhythms (which is about halfway through), it becomes the kind of movie they make all the time. Though it just about works…
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By Damon Wise
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‘The Killer’ Review: David Fincher’s Lean, Mean Hitman Drama Hits The Target – Venice Film Festival
In principle, using the rainy-day, kitchen-sink post-rock of Manchester band The Smiths so prominently in a film like The Killer seems incredibly perverse, given that it’s an exotic, globe-trotting thriller about an American assassin. But in reality, it’s actually a very sound choice indeed: legend has it…
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By Damon Wise
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‘Mancunian Man: The Legendary Life of Cliff Twemlow’ Review: Moving Tribute To A Cult Movie Maverick – Frightfest
Cliff Twemlow is an obscure figure even by British B-movie standards, a handsome, no-nonsense former Manchester nightclub doorman who attempted to create a Hollywood of the north in the early '80s and '90s. Born in 1937, a fact he tried to cloud for many years, he was something of a renaissance man: He…
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By Damon Wise
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