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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Review: "Revoir Paris"

by Cláudio Alves

2023 is shaping out to be the year of Virginie Efira, at least as far as American audiences are concerned. Other People's Children blessed theaters in March, and Madeleine Collins will arrive in August, all lauded leading roles for the Belgian star. This month, Revoir Paris comes to satiate Efira fans, gleaming with the promise of César gold, for this picture finally won her the prize oft called the French Oscar. Written and directed by Alice Winocour in tribute to her brother, the film, also known as Paris Memories, considers the aftermath of a terrorist attack not unlike those that befell the French capital in November 2015…

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Review: “Across the Spider-Verse” is a Pinnacle of Animation

By Ben Miller

I am not prone to hyperbole but I'm having a difficult time not calling Spider-Man: Across the Spider-Verse the greatest animated film ever made. Maybe some time and distance will back that up. For now, let's call it a monumental feat of both animation and entertainment.

Following the events of Into the Spider-Verse, Miles Morales (again voiced by Shameik Moore) is now protecting his city and universe as its Spider-Man. He encounters a new and inexperienced villain named The Spot (Jason Schwartzman), which attracts the attention of multiversal Spider-Men...

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