Review: "Love Life" Sings a Tragic Song

by Cláudio Alves

Under the right circumstances, a whisper can sound like a shout, soft caresses like barb-wire across the skin. In Kôji Fukada's cinema, a directorial style full of quiet oddities becomes the perfect context for such paradoxes to thrive ferociously. They never resolve themselves completely either, a sense of mystery prevailing until the end credits roll, whether it's the perversions of Harmonium or A Girl Missing's puzzle box plot. For his latest film, now in limited release, the Japanese auteur let go of those previous projects' violent spirits, redirecting his attention to a premise that sounds like easy-digestible melodrama. But, of course, that's not what Fukada has in store for his audience

Love Life was reportedly inspired by a romantic tune, but its final song rings barren, no rose-colored loveliness muffling the agony hiding between the notes. The sound produced is no crooning chant but a shattering, the glass of fragile joy broken before the first act is over…

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TV Review – ‘Breeders’ Returns for a Great Final Season

By Abe Friedtanzer

It’s rare to find a truly endearing comedy that deals well with the nuances of parenting and deftly handles dramatic moments in a compelling way. I’d argue there are two vastly underappreciated such shows, Trying from Apple TV+ and Breeders from FX. The former was renewed for a fourth season almost a year ago, and the fourth and final season of the latter is officially here. If you haven’t seen either, now is the time to check them out, and I would highly recommend starting with the lovely Breeders, which you can find on Hulu.

Martin Freeman and Daisy Haggard star as parents who are struggling to stay afloat. Their disciplinary strategies aren’t always the same...

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Review: "The Beasts" of Galicia

by Cláudio Alves

Rodrigo Sorogoyen's The Beasts opened at last year's Cannes Film Festival to thunderous acclaim, beginning  a global trip through film festivals and the odd commercial market. Its greatest success came in Spain and France, the two nations that coproduced the film, whose troubled relation toils the land and souls of a narrative inspired by real-life tragedy. If you're an awards obsessive, you might remember The Beasts from news about the Goyas and César, for the film was a sweeper in the former and won Best Foreign Film against mighty competition in the latter – including the Oscar-nominated Triangle of Sadness, EO, and Close. 

Regarding this bounty, it's easy to feel some skepticism creeping in, though, after you've seen The Beasts, the voters' fervor feels somewhat fair. As the film finally enjoys a limited release in American theaters, let's explore its tale of xenophobia and violence in modern Galicia, where monsters rove, feigning humanity…

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Review: Come on, "Barbie," let's go party!

by Cláudio Alves

What does it mean to sell out? Some would decry Greta Gerwig's move from mid-budget indies to big studio fare as a modern example. This line of thought posits the director's fourth film, Barbie, as capitulation to the tyranny of big bucks, no more than a glorified toy commercial for "vacuous, hypersexualized dolls." But when you're actually watching Gerwig's movie, it's difficult to take the pink oddity as proof evident of any sacrifice of vision or integrity for the sake of profit. Barbie's too ambitious a creation - in terms of text, tone, performance, audiovisual stylings galore - to support such dismissive readings.

From beginning to end, the summer's biggest comedy bursts at the seams with ideas, saturated with the clear intent of a creative mind given free rein. It glows with the kind of resources seldomly bestowed upon women directors. That doesn't mean the picture's perfect, exempt from criticism, or its enthusiasm is without drawbacks. But, even if Gerwig can't quite have her cake and eat it too, she manages to share a personal, goofy, deeply idiosyncratic proto-existentialist dream with her audience. Better yet, she does it with the attitude of a kid, their favorite toy in hand, eyes widening at the playtime possibilities before them…

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Review: A quartet of actresses grace "The Miracle Club"

by Matt St Clair

Thaddeus O’Sullivan’s The Miracle Club is the latest entry in the multiverse involving pictures where elderly, award-winning actress legends unite Avengers-style for an adventure. However, compared to previous entries in the unofficial multiverse like Book Club, 80 for Brady, and Poms, The Miracle Club is a more profound effort. There are moments of humor to be found in this story about friends coming together for a potentially “last” trip to fulfill an unrealized dream or goal but The Miracle Club leans heavily on the dramatic side.

Set in 1960s Ireland, Oscar winners Kathy Bates and Dame Maggie Smith play Eileen and Lily, two close-knit friends from the working-class village of Ballygar...

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