With my 2018 favorites in music and theatre behind us, and my film favs still to come (probably closer to the Academy Awards), it seems high-time to discuss the few new movies that have been released in 2019.
A couple more thoughts regarding the newly-Academy-Award-nominated documentary Free Solo:
Is it too late to share my favorite pieces of art released in 2018?
How long has it been since Gerard Butler starred in a movie as quiet as The Vanishing?
Time for two more imperfect comparisons between artists across space, time, and mediums.
Time to try my hand at a New Yorker-style capsule review.
One of my favorite non-English-language films of the year deserves not one, but TWO posts dedicated solely to it.
Damn near every year brings yet another installment in the age-old critical debate regarding how to define a horror movie.
Nobody should be fooled by Nobody’s Fool’s marketing campaign.
Mid90s falls in the unfortunate middle ground between what an artist thinks will be cinematically cool, and what’s actually cinematic, and cinematically well-executed.