The Latest Reviews For The Country France

When I was around thirteen, two classmates, Christina and Taylor (their real names, it’s not like they’re going to read this), played a prank on me that resulted in my eating dog food. In retrospect, it could have been worse: nobody else saw it happen, and for whatever reason they kept it to themselves. But when I think about my teenage years (and I try not to much at this point in my life, other than at a superficial pop culture level), my mind often goes to that moment. Continue Reading →

Based on Lizzie Presser’s 2019 ProPublica/New Yorker article, Raoul Peck’s Silver Dollar Road starts by barreling headfirst. Its first 15 minutes are a crash course of talking heads, introducing family members with broad, expository precision. The film shows them but doesn’t fully introduce them. Rather, it relies on graphics to fashion a sense of context. What the subjects say to the camera may provide an identity for the story at hand, but Peck’s approach renders such words largely textual. The narrative may be propulsive. The film, however, tends to feel stagnant. Continue Reading →

No 21st-century filmmaker has a more accurate and forceful finger on the pulse of global political thought trends than Radu Jude. His movies brim with a completely black-pilled attitude towards his own country’s political and social state amid the populace and an affinity for using social media obsession as a cipher in his cinema. In his latest, he comes out firing in an ironic and didactic rampage unseen since Jean-Luc Godard’s La chinoise (1967). Both film and digital collide in the characteristically wry and unambiguously titled Do Not Expect Too Much of the End of the World.   Continue Reading →

At the risk of making a "getting a lot of Sorcerer vibes from this" guy out of myself, The Hunted—William Friedkin's 2003 old-master-hunts-rogue-student thriller really does make for a fascinating counterpart to his earlier men-on-a-desperate-mission masterwork. Both delve into the lives of damaged, forlorn, isolated men on perilous quests for deliverance. And both of those quests lead deep into madness. Both pointedly contrast man-made, flame-choked hellscapes (Sorcerer's exploding oil well, The Hunted's secret mission amidst the Kosovo War) with the vast, amoral green of the deep forest (Columbia and Oregon, respectively). Both turn on setpieces that thrill while maintaining a grounded (if not necessarily "realistic") feel and weave surreality in with care. Continue Reading →

The sea is always a great setting for a story. It’s both soothing and menacing; water is cleansing and purifying, and a consistently replenishing source of food. But it’s also dangerous and uncompromising. Water is one of nature’s greatest antagonists, it can get into virtually anything, softening it, weakening it, eventually breaking it apart. But nothing on earth would survive without it. It’s a brilliant metaphor for so many things, as it’s constantly changing and moving and covers wondrous and monstrous secrets. It works even better in visual mediums like TV and film because it’s beautiful to both look at and listen to. The CW’s new eco-thriller, The Swarm, makes good use of its watery locations in establishing an aura of tranquil menace: everything seems calm and orderly, but there’s trouble bubbling up just below the surface. Continue Reading →

Upon his recent passing, we remember the feisty & controversial director & his wildly diverse filmography.  The funny thing about William Friedkin is that if you ask six people what their favorite Friedkin film is, you’ll get six different answers. One (me) will invariably say The Exorcist. Another will say The French Connection and gladly get into fisticuffs over how its iconic car chase beats Bullitt's. A third will say it’s To Live and Die in L.A. (which has its own iconic car chase), and someone else will say Jade, but they’re just messing with you.  Continue Reading →

Despite their hue, not all TMNT films deserved to be greenlit. Kevin Eastman and Peter Laird created The Teenage Mutant Ninja Turtles back in 1984. Now almost 40 years later, what started as a comic book has inspired seven movies, five television series, and countless amounts of merchandise. This week the four ninja tortoises return in a new animated incarnation, Teenage Mutant Ninja Turtles: Mutant Mayhem. Considering I’ve been a fan of the Turtles since six years old, this seems like the perfect time to put an official rating on four decades of movies. Some are gnarly, some tubular, and there’s always a whole lot of cowabunga.   Continue Reading →

“Superficiality is for another generation,” Jeanne Mayer (Blanche Gardin) screams to herself. Instead, her anxieties say it to her, visualized through sinuous, sketchy animation; they demand a lot. She can’t focus on her own body. Oh, no; that’d be too vain. It’s okay to appreciate the glances of men on the street, if just occasionally, though. It feels good, after all. But wait: she can’t give into hedonism. And she may be stressed, but having a bit to drink before noon? That’s just alcoholic behavior. How about labeling her a “wino” instead? Yeah, that’s better.  Continue Reading →

For characters who started in part as an affectionate homage to and goof on the character-defining Frank Miller-written Daredevil comics, the Teenage Mutant Ninja Turtles are remarkably flexible. This is true in-universe: being bendy is a package deal with being a master of ninjitsu. But I'm talking more about the sheer variety of Ninja Turtle projects.  Continue Reading →

In Celine Sciamma’s Petite Maman, we see a young girl meet another in the woods. Soon we learn the latter girl happens to be a literal younger manifestation of the former’s mother. In Charlotte Le Bon’s debut film, Falcon Lake, a pre-pubescent boy falls in love for the first time with the daughter of a family friend in a campsite supposedly haunted by a ghost. Continue Reading →

There’s something to be said for a ramshackle film that delights in itself and doesn’t take anything especially seriously. Unfortunately, what a filmmaker and their fans find fun may read as piffle or drudgery to less dialed-in audiences. Case in point: Kaboom. Continue Reading →

Alice Winocour’s Revoir Paris begins in a café. Mia (Virginie Efira), avoiding the rain, sits and drinks a glass of wine by herself, surrounded by other patrons. A birthday party for a middle-aged man, a few tourists, a couple having an argument, all of the classic situations are present. After spilling ink onto her hand, she heads to the bathroom, cleans up, grabs her belongings, and gets up to leave, when the two people in front of her are shot and killed. Continue Reading →

“We can’t change ourselves, only what surrounds us.” Sylvie (Anouk Grinberg) says to her son Abel (director Louis Garrel) in the opening minutes of The Innocent. Louis Garrel has appeared in movies since he was 6 years old, making his debut in a movie directed by his father, Philippe Garrel, the last French New Waver, and his mother, actress Brigitte Sy, (1989’s Les baisers de secours aka Emergency Kisses) about a director and his actress wife. Louis Garrel appeared in seven of his father’s films, several directed by his former partner Valeria Bruni Tedeschi, directed movies with ex-wife Golshifteh Farahani and current wife Laetitia Casta, and played his father’s peer and champion Jean-Luc Godard in Le Redoubtable, based on the memoirs of Anne Wiazemsky, whose niece Léa is in The Innocent.   Continue Reading →

“A heterosexual movie by Gregg Araki,” The Doom Generation’s opening credits read. It’s the first of many jokes for Araki’s first film with a crew, shot for $1 million in January of 1994. None of the humor is apathetic, though. It’s like its characters in that way: caustic, yes, even to a fault at points. But the kids at the center of The Doom Generation aren’t apathetic, at least not at the beginning. They’re a conceptual trio of id, ego, and superego filtered through Araki’s lens to serve the narrative, an anti-American mind due to their identities and personal lives. But as they realize their selves individually and as a whole, their heterosexual, monogamous environment relegates them to sameness.  Continue Reading →

This review is part of our coverage of the 2023 Tribeca Film Festival. Continue Reading →

Delia, oh, Delia, Delia all my life/If I hadn't have shot poor Delia/I'd have had her for my wife/Delia's gone, one more round, Delia's gone." Continue Reading →

With a travel book in her hands and a cigarette in her fingers, Carmen (Aline Küppenheim) deliberates what shade of paint she’d like for her walls. She wants it like a sunset but not too pink. Maybe a bit blue. After all, it’s not like she goes outside too often. Even her commutes, now to her Las Cruces beach house, are isolated. It’s 1976 in Chile, three years into dictator Augusto Pinochet’s rule. While paint drips onto Carmen’s heels, defectors and accused communists fall in the streets. But hey, she’s got a home to renovate.  Continue Reading →

The immediate issue with Tina Slatter’s debut feature, Reality, is how disengaging it is as a movie. A direct adaptation from Slatter’s theatrical piece Is This a Room, the conceptual background is probably the more interesting part. That show took the recorded transcript of FBI agents and former veteran and NSA translator Reality Winner (Sydney Sweeney) about Winner's leaking of classified information on Russian interference in the 2016 US Presidential election and used it as a verbatim dialogue. Everything uttered on the tape is replicated almost exactly in the play and, now, the film. The stutters, pauses, coughing, dog barking, doors opening. Everything. Recreated in minute detail.   Continue Reading →

When The Purge film series began, it attempted to create a heightened, ultraviolent version of the future that was both laughably over-the-top and an accurate reflection of the current political climes. They created a dystopia that was vaguely familiar but could still leave you rolling your eyes at its implausibility. For those unfamiliar with the franchise, the concept is as follows: On one night each year, the US government legalizes all crime, including murder, in the hopes of providing an outlet for Americans’ rage. It ultimately leads to an overall decrease in crime and an (ostensibly) utopian society. Continue Reading →

Cecilia (Leonor Varela) is in a bad way. She’s been twisted by years of neglect and disappointment into a coil of razor wire. She’s short with her co-workers and her children, especially queer Tomas (Enzo Ferrada Rosati), whose gender identity is taken as a personal slight. Her brother Bernardo (Marcial Tagle) is so used to her undermining him that he preempts their first meeting with an admission of his weight gain and a refusal to embrace her like a hit dog. Continue Reading →

Highly lauded Romanian director Cristian Mungiu is back from a six-year hiatus with the curious R.M.N., a look at a town slowly letting itself succumb to its worst fears. Like the famous Twilight Zone episode “The Monsters are Due on Maple Street,” a town gears up to combat an imaginary menace they’ve created to demonize real people and problems, simply to feel better about their own misfortune and short-sightedness. After three films that failed to capture the attention of his sophomore feature, Cannes Top Honors recipient 4 Months, 3 Weeks, 2 Days, Mungiu has found an edifying middle ground between his wilder ambitions and the style in which he made his name. R.M.N. may suffer from heavy hands, but this is a film of deceptive heft from a director renewed by change. Continue Reading →