Rest assured: this is the only Oscar predictions post you’ll see on Critic Speak all year. While the rest of the Internet film community becomes obsessed with statuettes come November, writing almost exclusively about precursors and frontrunners and “Oscar buzz” for the next four months, we pride ourselves on keeping the focus on real criticism. […]
Our Oscar Picks and Predictions Read More »
Honorable Mentions: “Argo” – Ben Affleck continues his career resurgence in front of and behind the camera with the year’s best crowd-pleaser. Centering on the true story of how the C.I.A. extracted several Americans from Tehran during the Iran Hostage Crisis posing as a film crew, “Argo” manages to be an affectionate satire of Hollywood
James Frazier’s Top 10 Films of 2012 Read More »
Despite a lackluster crop of summer blockbusters—“The Dark Knight Rises,” in particular, was a colossal disappointment—2012 turned out to be a very good year at the movies. Two weeks ago, with several key films left to see, I began actively wishing that I would be disappointed by my remaining viewings because I didn’t want to
Danny Baldwin’s Top 10 Films of 2012 Read More »
Historically, Robert Zemeckis’ dramas have worked by harnessing their thick characterizations and exaggerated situations to unabashedly play to the audience’s emotions. From Forrest Gump’s run across America to Chuck Noland’s bald-faced wailing at the loss of his beloved volleyball Wilson in “Cast Away,” Zemeckis’ finest work may be coated in Hollywood sheen, but it nonetheless
NYFF Review: “Flight” Read More »
“Good luck,” warned Jack Turner as he introduced “Compliance,” Craig Zobel’s squirmy new film, to a sold-out crowd at the Downer Theatre. Turner, a producer working on Zobel’s next project, reminded filmgoers at the Milwaukee Film Festival that “Compliance” provoked walkouts and charges of misanthropy at Sundance. Nervous energy rippled through the rows, but the
Notes from the 2012 Milwaukee Film Festival Read More »
Few things are more irritating than a movie that’s full of itself, a characterization that undoubtedly applies to Javier Rebollo’s “The Dead Man and Being Happy.” Sympathetic lead performances and pretty Argentinian locations help alleviate the aggravation of the experience, but the film’s smug self-satisfaction with its own quirkiness is ultimately irredeemable. The titular “dead
NYFF Review: “The Dead Man and Being Happy” Read More »
Miguel Gomes’ “Tabu” is a conventional story of forbidden love presented in a visually dazzling package that took me a full act to start enjoying. The reason for my delayed gratification was the film’s unusual structure: it begins with an ultimately irrelevant framing story that distracts from the meat. But once “Tabu” reaches its core
NYFF Review: “Tabu” Read More »
Films that traffic in the abstract can be difficult to objectively judge, because each viewer is either lured in by the style or they aren’t. “Leviathan” is one such film, so much so that I won’t even pretend to understand the viewpoint of those praising it. For the full 87 minute runtime, I tried to
NYFF Review: “Leviathan” Read More »
Pablo Larraín, the writer/director of “No,” shyly introduced his work to the New York Film Festival audience by mumbling a few thanks into the microphone and quickly taking a seat. Having seen the filmmaker’s prior two efforts, “Tony Manero” and “Post Mortem,” which make up a spiritual trilogy with “No,” I was not surprised that
Despite the fact that my civilian ticket only earned me a back-row balcony seat in the Alice Tully Hall theater, my view of “Araf – Somewhere in Between” was still spectacular, thanks to the huge, crystal clear screen. The writer/director of the film, Yesim Ustaoglu, was present for this very first North American showing of
NYFF Review: “Araf – Somewhere in Between” Read More »
