Reviews
NYFF Review: Noah Baumbach Delightfully Skewers Our Fear of Death in White Noise
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: Dom LeLillo’s White Noise is one of those “great American novels” long thought to be unfilmable, a scattered, acerbic takedown of late American capitalism and its incessant need to distract from the inevitability of death with movies, culture, conversation, stuff. And honestly, it’s oddly fitting that the filmmaker who’d finally tackle it would be Indie Darling Noah Baumbach himself: Like DeLillo, he too is concerned with the fits and foibles of academia, the crumbling nature of the family unit, the ways we cling to ephemera just to keep ourselves from falling apart. And so it is with this three-part tale of the Gladney clan, a nuclear family about to go metaphorically (and in some ways litera...
Till Digs Into a Deeply Shameful, Deeply American Tragedy: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: The horrific, deeply shameful, and deeply American story of Emmett Till galvanized the civil rights movement with its tragedy: A 14-year-old Black boy from Chicago, visiting relatives in Mississippi, was kidnapped, tortured, and murdered for having the temerity to interact with a white woman, and Emmett’s mother Mamie Till-Mobley (then known as Mamie Till-Bradley) made the momentous decision to have an open-coffin funeral for her son, displaying his body, mutilated by his killers and bloated from being dumped into a river. These images, heavily circulated in Black publications, brought attention to the evils and injustice of U.S. racism — though they were not enough for Till’s killers (who admitted to the cr...
Paul Schrader’s Master Gardener Treads Very Familiar Soil: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: So there’s this stoic-looking man, sitting at a desk in a dark, spartan room, writing in his journal as we hear his thoughts in voiceover. That’s the set-up for Paul Schrader’s Master Gardener, as it was for his previous two films, The Card Counter and First Reformed. This was also the spirit, at least, of many other movies he has written and/or directed over the years, but his most recent unofficial trilogy takes on a ritualistic quality, as if Schrader is performing his version of stations of the cross, on progressively skimpier budgets. The newest iteration stars Joel Edgerton as Narvel Roth, head horticulturist at Gracewood Gardens, and though his routines appear regimented, he also seems closer to peace...
The Nostalgia of Hocus Pocus 2 Only Serves Itself
Hocus Pocus 2, the long-awaited-by-some sequel to the 1993 fantasy comedy horror film rocking the same name, is best summed up with a stray fart joke. A newly resurrected Mary Sanderson (Kathy Najimy), one of the three nefarious Sanderson sisters (Salem witches whose 1600s reign of terror over the town ended by the noose) stumbles into a Walgreens. She and her siblings, Sarah (Sarah Jessica Parker) and Winifred (Bette Midler), are in search of provisions, and lured into entering the pharmacy by the film’s teen heroes. One by one they walk in. Mary, awed by the automatic doors, steps through and immediately, casually, unwarrantedly trumpets her flatulence. End scene. Farts are funny when they have a point. Hocus Pocus 2’s fart has no point. Mary farts because the filmmakers, producers, and ...
The Greatest Beer Run Ever Is a Pretty Likeable Movie, and That’s a Huge Problem: Review
The Pitch: Peter Farrelly is back with his first film since Green Book, a biopic about an average white guy from New York in the 1960s who learned a lot about the world by stepping outside of his comfort zone in the American South, whilst simultaneously charming the more worldly people around him. His new one, The Greatest Beer Run Ever, is a little different: it’s a biopic about an average white guy from New York in the 1960s who learns a lot about the world by stepping outside of his comfort zone in the Vietnam War, whilst simultaneously charming the more worldly people around him. This time, Zac Efron stars as Chickie Donahue, a shiftless merchant mariner who has a lot of friends serving in Vietnam. Chickie resents the cynical attitude the American media and youth culture have towards t...
Chan-wook Park’s Decision to Leave Is a Sizzling Romantic Thriller: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: A mountain climber is found dead at the bottom of one of Busan’s most intimidating peaks. An accident? Probably. But ace Busan detective Hae-jun (Park Hae-il) still finds himself drawn to the man’s Chinese widow, Seo-rae (Tang Wei), with whom he shares a beguiling, unspoken connection. She’s elusive, enigmatic; he grows more obsessed with her the longer he watches her on long stakeouts. And the closer the two get, the harder it is for him to see the woman she truly is — and the harder for her to hide it. The Mist: If there’s one thing you can count on from a Chan-wook Park film, it’s that it will be chock full of surprises. That’s certainly true of Oldboy, Stoker, and The Handmaiden, thre...
Björk Is as Vibrant as Ever on the Moving, Earthy Fossora
Aside from her unmatched ability to constantly and successfully reinvent herself, one of Björk’s greatest qualities is her deft, poignant interrogations on the complex ties between humanity and nature. On her previous album, 2017’s lovely Utopia, the Icelandic experimental pop singer envisioned a world beyond ours, contrasting ethereal imagery and feather-light production with her growing concerns about the environment and her lingering grief around her divorce. Fossora — the followup to Utopia and her 10th overall record, out Friday (September 30th) — finds Björk coming back down to Earth, surveying the decay of our natural world and meditating on its debilitating effect on our own relationships. We don’t take care of our planet, Björk seems to suggest, because we fail to take care o...
NYFF Review: Bones And All Sucks the Marrow Of Its Horrific Premise
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: Something’s a bit off about Maren (Taylor Russell) — when we first meet her, she looks like an ordinary teen just trying to finish high school and fit in with her new environment. But it’s not long before a get-to-know-you sleepover (and a torn-off ring finger) reveals her for who she is: an “eater,” someone with the insatiable need to consume human flesh. Fed up with the constant moving and the pressure of looking after such a dangerous girl, her father (André Holland) abandons her one morning, leaving only her birth certificate and a cassette tape detailing his account of their early years together. The rest, as he narrates, is up to her. Related Video Thus begins her odyssey to track down her long-mi...
Entergalactic Review: Kid Cudi’s Next Album Is Also a Low-Key Charming Animated Rom-Com
The Pitch: Jabari (Kid Cudi, or Scott Mescudi, as he’s credited here) is a street artist on the cusp of great things, as his original character Mr. Rager, featured in graffiti art all over New York City, has been tapped by a major comic book company for a potential series. He’s even got a great new loft in Manhattan, which just so happens to make him new neighbors with Meadow (Jessica Williams), a photographer who’s also getting ready for a big professional leap with her first major show. Neither Jabari or Meadow are particularly looking for a big epic romance, but keep finding themselves spending time together after a late-night encounter, and their mutual interests plus a natural chemistry quickly accelerate them into relationship territory. However, insecurities on both ends, escalated ...
Yeah Yeah Yeahs Spin Their Wheels on Cool It Down
When the Yeah Yeah Yeahs ensnared the rock consciousness with Fever to Tell almost 20 years ago, the band’s true magic was never bound to where they’d been — the romanticized New York underground pedigree, those “had to be there” early shows — but where they might be going. With Fever, in all its exhilarating, teeth-baring bar room glory, every moment felt as though Karen O, Nick Zinner and Brian Chase were hurtling toward the precipice of something extraordinary, and perhaps with a little more time to grow and live, the young trio would bloom into one of the most indispensable rock bands of the 21st century. But that never really happened. The follow-up, 2006’s Show Your Bones, was more tentative and familiar in an uninspiring way — wholly forgettable, especially 15 years later. The alt-p...
Foo Fighters Honor Taylor Hawkins with a Second Six-Hour Musical Lovefest in L.A.: Review
We’ve been at a collective loss since the passing of beloved and ultra-talented drummer Taylor Hawkins. The Foo Fighters staple had a place in the hearts of many inside the music world and outside of it — a piece to the grand puzzle that leaves it incomplete now that it’s gone. As if the initial tribute show in London’s Wembley Stadium earlier this month wasn’t proof enough, another horde of Hawkins fans sold out The Kia Forum in Inglewood on Tuesday night (September 27th) with hearts swelling and energy flowing, not knowing exactly what laid ahead of them. For another six hours, as with Wembley, David Grohl and his rotating cast of guests rolled their way through some of Hawkins’ favorite tracks, as well as Foo Fighters classics. And while family was again an overarching theme of the nigh...
The Anxiety and Ambition of Yeah Yeah Yeahs’ Cool It Down
It goes without saying that the world has changed since the Yeah Yeah Yeahs unleashed their feral debut album, Fever to Tell, in 2003. Written in the wake of of 9/11, it was a 37-minute adrenaline rush of post-punk you can dance to. The record cemented them as an integral part of the wave of guitar-heavy New York bands, such as The Strokes and Interpol, that rose to prominence at the start of the century. Even now, they’re still considered a New York band, despite the city, its music, the band themselves, and the world around them continuing to change. The band went on hiatus shortly after releasing their third album Mosquito in 2013, though Karen O focused on releasing her solo work and contributing to film soundtracks, and became a mother for the first time. Meanwhile, Nick Zinner lent h...
