Craig Brewer’s Song Song Blue is a surprisingly powerful musical biopic that rests upon the remarkable easygoing charm of Kate Hudson.
A Diamond on The Hudson
Redmond Bacon
Redmond is the editor-in-chief of Journey Into Cinema.
Keeper Away
Osgood Perkins’ lazy “cabin in the woods” horror Keeper is a tale about almost nothing at all, with almost nothing to enjoy.
Fall From Humanity Itself
Joan Chen’s May-December romance Autumn in New York may look pretty, but make no mistake: this movie is godawful.
Black Phone 2. Hell’s Frozen Over.
Scott Derrickson’s marginally better sequel Black Phone 2, the spirit of Dante’s Inferno is chanelled to frosty — in both senses of the word — results.
Mare’s Nest Belongs in a Museum
Ben Rivers’ latest feature is a long and meandering slog through the apocalypse that might work in a museum, but is deadening on the big screen.
John Garfield: The Father of Method Acting
Films by Gena Rowlands and John Garfield at Karlovy Vary International Film Festival show us the deep emotional power of the method acting approach.
Don’t Call Me Mama’s Scandalous Scandinavians
Don’t Call Me Mama is Scandinavia’s answer to Babygirl that unfortunately gives off a truly icky Blame It On Rio vibe.
Skin on Skin Looks for Love in The Meat House
Two men try and find love amidst the horror and bruality of a German slaughterhouse in Simon Schneckenburger’s excellent short Skin on Skin.
The Visitor’s Beautiful Baltic Banality
Despite its preponderance of gorgeous images, The Visitor provides an emotionally-detached experience that can’t match the magic of its visuals.
I Saw the Face of God in The Jet Wash. Celtic Spirit on Super 8.
Mark Jenkin’s loopy tour of the Celtic regions of the world (and Los Angeles) is British cinema and its most pure and eccentric. Essential viewing.