The profession of journalism requires patience, steadfastness, sharp attention to detail, and a tedious yet rigorous approach. Forget Clark Kent changing in phone booths or Sigourney Weaver running with a microphone in Eyewitness, as the real deal, the dull yet methodical process, has been captured to perfection in such films as All The President’s Men... Continue Reading →
Clearly we’re living in a zeitgeist moment where so many filmmakers have taken swipes at the 1% with titles such as Triangle Of Sadness, The White Lotus, Succession, and Glass Onion: A Knives Out Mystery, to name a few, hellbent on exposing the class divide. Enter The Menu into the fray from director Mark Mylod... Continue Reading →
With such features as, Force Majeure and Cannes Film Festival Palme d’Or winning The Square, Swedish filmmaker Ruben Östlund has established himself as an expert satirist with a clean, measured approach to shooting a scene. His style feels reminiscent of Stanley Kubrick at his most diabolical with concise framing, long takes, and a cold, removed... Continue Reading →
The very first film I critiqued for The Queer Review was Olivia Wilde’s wonderful feature directing debut, Booksmart. In it, she showed off her ability to generate an infectious energy, riotous humor and a refreshingly frank look at strong female characters. I couldn’t wait for her follow-up, and when the trailers for Don’t Worry Darling... Continue Reading →
Attention gays! If you’re a fan of The Wizard Of Oz, Psycho, Whatever Happened To Baby Jane?, The Other, What’s The Matter With Helen?, and Who Slew Auntie Roo?, have I got a film for you! Ti West’s Pearl, the prequel to X, a slasher film about a production crew trying to make a porno... Continue Reading →
A short time ago, I was coming home from dinner with a friend when a young man with a pronounced limp walked towards us, his little dog in tow. Just as he drew close, he dropped his phone on the sidewalk. With my natural instincts kicking in, I picked up his phone, returned it and... Continue Reading →
Have you ever wanted to rate a movie using Olympics guidelines? I thought of that while watching Bodies Bodies Bodies from director Halina Reijn. Instead of a detailed review, mustering up all my skills as a film critic, I just wanted to say, Concept: 10, Execution: 2 and leave it at that. Alas, I have... Continue Reading →
I’ve always enjoyed Michelle Ehlen’s films, such as Butch Jamie, Heterosexual Jill, and S&M Sally, and consider them a maverick in that they write, direct, produce, edit and star in their own films. Full disclosure: Michelle wore many hats on my feature debut, Eating Out: All You Can Eat, and our pre-existing relationship scared me... Continue Reading →
Many film festival programmers look at a collection of films and realize they’re all speaking with each other, the themes reverberating across the divide, that they’re tapping into the zeitgeist, crying out together. Perhaps due to the past couple of years of COVID lockdown and loss, a deep well of loneliness has informed many filmmaking... Continue Reading →
If you enjoyed Take Shelter, Midnight Special, Bug, and Safety Not Guaranteed, four films which had you wondering if the sci-fi events depicted were real or a result of of a mental break, then you may respond to director Juan Felipe Zuleta and writer Leland Frankel’s Unidentified Objects, Outfest LA’s U.S. Centerpiece. Otherwise, your mileage... Continue Reading →
