Reviews

May 14, 2025

Cannes 2024 Review: A Young Man’s Uneasy with Having It Easy in Laurent Cantet’s Tremendous “Enzo”

March 17, 2025

SXSW 2025 Review: A Sticky Situation Ends Up Being a Fair Bit of Fun in J Pinder’s “Cotton Candy Bubble Gum”

November 18, 2024

DOC NYC 2024 Review: Ondi Timoner’s “All God’s Children” Identifies a Shared Belief in a Higher Calling

September 15, 2024

TIFF 2024 Review: A Former War Correspondent Looks for Peace of Mind Amongst Her Own Tortured Family in “Tata”

June 27, 2024

DC/DOX 2024 Review: A.J. Schnack’s “Majority Rules” is a Political Doc That Separates Itself From the Pack

June 17, 2024

Tribeca 2024 Review: It Can Feel Lonely in a Friendship in Joel Potrykus’ Unexpectedly Poignant “Vulcanizadora”

June 13, 2024

Tribeca 2024 Review: Solving a Case Starts to Look Like a Crime in Nnamdi Asomugha’s Gripping Thriller “The Knife”

June 12, 2024

Tribeca 2024 Review: “Emergent City” Brings Urgency to a Slow-Motion Socioeconomic Crisis

June 11, 2024

Tribeca 2024 Review: Simon Klose’s “Hacking Hate” Puts a Face on the Resistance

June 10, 2024

Tribeca 2024 Review: Yannis Veslemes’ “She Loved Blossoms More” Enters Another Realm

June 9, 2024

Tribeca 2024 Review: Faith Pays Off in Time for “Sabbath Queen,” a Riveting Religious Odyssey

June 9, 2024

Tribeca 2024 Review: “Quad Gods” Reveals a Different Kind of Strength