There is nobody making films like Quentin Dupieux. The gleefully immature DEERSKIN might be his most mature work yet
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Category: Philadelphia Film Festival
THE LODGE (dir. Severin Flavia + Veronica Franz): 2019 Philadelphia Film Festival review
Appropriately enough, THE LODGE leaves us cold.
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JALLIKATTU (dir. Lijo Jose Pellissery): 2019 Philadelphia Film Festival review
It’s not to be missed. And that’s no bull.
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PARASITE (dir. Joon-ho Bong): 2019 Philadelphia Film Festival review
This years Palme d’Or winner at Cannes was also the opening night film for the 28th annual Philadelphia Film Festival.
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Wild Rose (dir. Tom Harper): Film review
Perhaps the biggest compliment I can give the film is also the one that scares me most: I want to listen to more country.
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BODIED (dir. Joseph Kahn): Philadelphia Film Festival review
The film blogosphere has been alight about Joseph Kahn’s latest feature, Bodied, since its explosive debut at TIFF over a year ago.
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PROSPECT (dir. Chris Caldwell, Zeek Earl): Philadelphia Film Festival review
In this world, space isn’t the final frontier. It’s the California desert post-gold rush.
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THE FAVOURITE (dir. Yorgos Lanthimos): Philadelphia Film Festival review 2
Dan Scully reviews the latest movie from the director of The Lobster.
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THE GUILTY (dir. Gustav Möller): Philadelphia Film Festival review
Like all good thrillers, THE GUILTY weaves in current issues from the real world,
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BATHTUBS OVER BROADWAY (dir. Dava Whisenant): Philadelphia Film Festival review
Call me a snob, but I’ve never understood the idea of enjoying something ironically. The enjoyment of the “it’s so good it’s bad” phenomena for…
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THE FAVOURITE (dir. Yorgos Lanthimos): Philadelphia Film Festival review
A film with a concept you didn’t know you needed
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BORG MCENROE (dir. Janus Metz): Philadelphia Film Festival review
Fitting that the festival which began with I, Tonya should end, at least for me, on a similar note with Borg McEnroe. While not as…
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BAD DAY FOR THE CUT (dir. Chris Baugh): Philadelphia Film Festival review
The right amount of craftsmanship can elevate even the lowest budget film into something special,
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THE SQUARE (dir. Ruben Östlund): Philadelphia Film Festival review
The Square uses awkward humor to explore the ridiculousness of ‘high class’ expression.
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THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (dir. Martin McDonagh): Philadelphia Film Festival review
“Raped while dying,” the first billboard reads. The next, “And still no arrests,” and finally, “How come, Chief Willoughby?”
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IN THE FADE (dir. Fatih Akin): Philadelphia Film Festival review
In the Fade is less concerned with the catharsis of vengeance than it is the ethical questions that revenge naturally raises.
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THELMA (dir. Joachim Trier): Philadelphia Film Festival review
Easily one of my favorites of the fest so far, Thelma is one of those rare movies that is so rich, so stylish, and so…
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THE ENDLESS (dir. Justin Benson & Aaron Moorhead): Philadelphia Film Festival review
Among genre fans, Justin Benson and Aaron Moorhead have become synonymous with a “microbudget sci-fi drama.” Each of their films uses a Twilight Zone-esque concept to put characters…
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SPOOR (dir. Agnieszka Holland & Kasia Adamik): Philadelphia Film Festival review
Spoor has all the makings of a great movie, but fails to pull them together in a satisfying way.
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UNDER THE TREE (dir. Hafsteinn Gunnar Sigurosson): Philadelphia Film Festival review
Although it’s not a terrible film, this is the first of the fest that I’d call a disappointment. Maybe I was tired, maybe I internally…
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