New York Film Festival
Paul Mescal and Saoirse Ronan Fail to Connect In Milquetoast Sci-Fi Romantic Drama Foe: Review
Garth Davis' limp adaptation of the Iain Reid novel is Tennessee Williams meets Black Mirror. Paul Mescal and Saoirse Ronan Fail to Connect In Milquetoast Sci-Fi Romantic Drama Foe: Review Clint Worthington
Maestro Review: Bradley Cooper’s Leonard Bernstein Biopic Brings the Heart, but Lacks the Music
The Star Is Born director's follow-up is a loving portrait of the composer, but It's Carey Mulligan who steals the show. Maestro Review: Bradley Cooper’s Leonard Bernstein Biopic Brings the Heart, but Lacks the Music Cady Siregar
Armageddon Time Review: James Gray’s Coming-of-Age ’80s Drama Proves Unsatisfying
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: James Gray, an experienced outer-borough tour guide, brings us closer to his own Queens past in Armageddon Time, a semi-autobiographical coming-of-age drama (though he says he wasn’t aiming for that genre; more on that later). The film follows 12-year-old aspiring artist Paul Graff (Banks Repeta) as he struggles with school, makes a friend in his classmate Johnny (Jaylin Webb), clashes with his parents Irving (Jeremy Strong) and Esther (Anne Hathaway), and takes solace in the love of his grandfather (Anthony Hopkins). The 1980 presidential contest looms in the background; at one point, kids at a posh private school start an impromptu chant for Reagan at the mere mention of elections, just before an assembly ...
NYFF Review: Noah Baumbach Delightfully Skewers Our Fear of Death in White Noise
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: Dom LeLillo’s White Noise is one of those “great American novels” long thought to be unfilmable, a scattered, acerbic takedown of late American capitalism and its incessant need to distract from the inevitability of death with movies, culture, conversation, stuff. And honestly, it’s oddly fitting that the filmmaker who’d finally tackle it would be Indie Darling Noah Baumbach himself: Like DeLillo, he too is concerned with the fits and foibles of academia, the crumbling nature of the family unit, the ways we cling to ephemera just to keep ourselves from falling apart. And so it is with this three-part tale of the Gladney clan, a nuclear family about to go metaphorically (and in some ways litera...
Till Digs Into a Deeply Shameful, Deeply American Tragedy: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: The horrific, deeply shameful, and deeply American story of Emmett Till galvanized the civil rights movement with its tragedy: A 14-year-old Black boy from Chicago, visiting relatives in Mississippi, was kidnapped, tortured, and murdered for having the temerity to interact with a white woman, and Emmett’s mother Mamie Till-Mobley (then known as Mamie Till-Bradley) made the momentous decision to have an open-coffin funeral for her son, displaying his body, mutilated by his killers and bloated from being dumped into a river. These images, heavily circulated in Black publications, brought attention to the evils and injustice of U.S. racism — though they were not enough for Till’s killers (who admitted to the cr...
Paul Schrader’s Master Gardener Treads Very Familiar Soil: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: So there’s this stoic-looking man, sitting at a desk in a dark, spartan room, writing in his journal as we hear his thoughts in voiceover. That’s the set-up for Paul Schrader’s Master Gardener, as it was for his previous two films, The Card Counter and First Reformed. This was also the spirit, at least, of many other movies he has written and/or directed over the years, but his most recent unofficial trilogy takes on a ritualistic quality, as if Schrader is performing his version of stations of the cross, on progressively skimpier budgets. The newest iteration stars Joel Edgerton as Narvel Roth, head horticulturist at Gracewood Gardens, and though his routines appear regimented, he also seems closer to peace...
Chan-wook Park’s Decision to Leave Is a Sizzling Romantic Thriller: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: A mountain climber is found dead at the bottom of one of Busan’s most intimidating peaks. An accident? Probably. But ace Busan detective Hae-jun (Park Hae-il) still finds himself drawn to the man’s Chinese widow, Seo-rae (Tang Wei), with whom he shares a beguiling, unspoken connection. She’s elusive, enigmatic; he grows more obsessed with her the longer he watches her on long stakeouts. And the closer the two get, the harder it is for him to see the woman she truly is — and the harder for her to hide it. The Mist: If there’s one thing you can count on from a Chan-wook Park film, it’s that it will be chock full of surprises. That’s certainly true of Oldboy, Stoker, and The Handmaiden, thre...
NYFF Review: Bones And All Sucks the Marrow Of Its Horrific Premise
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: Something’s a bit off about Maren (Taylor Russell) — when we first meet her, she looks like an ordinary teen just trying to finish high school and fit in with her new environment. But it’s not long before a get-to-know-you sleepover (and a torn-off ring finger) reveals her for who she is: an “eater,” someone with the insatiable need to consume human flesh. Fed up with the constant moving and the pressure of looking after such a dangerous girl, her father (André Holland) abandons her one morning, leaving only her birth certificate and a cassette tape detailing his account of their early years together. The rest, as he narrates, is up to her. Related Video Thus begins her odyssey to track down her long-mi...
Martin Scorcese Premiering Documentary About New York Dolls’ David Johansen at New York Film Festival
New York Film Festival has announced its 2022 lineup, and one of the most compelling premieres will be Martin Scorsese’s Personality Crisis: One Night Only, his documentary centering around a special 2020 performance by New York Dolls frontman David Johansen. Scorsese co-directed the feature with frequent collaborator David Tedeschi (The 50 Year Argument). They worked with cinematographer Ellen Kuras (American Utopia) to capture Johansen’s January 2020 set at New York City’s Café Carlyle. The show was part of Johansen’s run under his ’80s “hepcat lounge lizard” persona Buster Poindexter. Besides the concert, the documentary features new and archival interviews. “Then and now, David’s music captures the energy and excitement of New York City,” Scorsese said in a previous stat...
NYFF Review: Denis Villeneuve’s Dune Is Spectacular — And Spectacularly Underwhelming
This review is part of our coverage of the 2021 New York Film Festival. The Pitch: Frank Herbert’s seminal sci-fi novel Dune gets its second big-screen treatment. The first was a notorious misfire directed by David Lynch, who famously disowned the final film; the newer version is from Denis Villeneuve, who has experience with sci-fi both emotionally intimate (Arrival) and storied in its nerdy history (Blade Runner 2049). Though the politics and world-building of the Dune world can seem obtuse — the names alone present a challenge for the less sci-fi-inclined — its story will also have a familiar ring for anyone who’s absorbed a few of the many works the novel influenced. Advertisement Related Video In other words, yes, it’s a chosen-one narrative: Paul Atreides (Timothée Chalamet), a young...
NYFF Review: Joaquin Phoenix Gets Avuncular for the Warm, Low-Key C’mon C’mon
This review is part of our coverage of the 2021 New York Film Festival. The Pitch: Every five years or so, Mike Mills — not the one from R.E.M., though, confusingly, he is a music video director and graphic designer for some of their contemporaries — releases a sensitive, heartfelt drama about delicate but deceptively strong family ties. C’mon C’mon is the 2021 model, starring Joaquin Phoenix as a documentarian who must unexpectedly spend several weeks taking care of his nine-year-old nephew. I’ll Figure It Out: “Nobody knows what they’re doing. You just have to keep doing it.” That’s advice given late in C’mon C’mon by Viv (Gaby Hoffman) to her brother Johnny (Joaquin Phoenix) as he struggles to figure out how to substitute-parent her nine-year-old son Jesse (Woody Norman). Viv has been c...
NYFF Review: Benedict Cumberbatch is a Macho, Petulant Cowboy in The Power of the Dog
This review is part of our coverage of the 2021 New York Film Festival. The Pitch: Acclaimed writer-director Jane Campion adapts the semi-obscure 1967 novel The Power of the Dog into a feature of the same name. It’s a Western of sorts about Phil Burbank (Benedict Cumberbatch), a self-consciously macho cowboy who hassles his more reserved brother George (Jesse Plemons) on the ranch they own and operate together. When George marries the widow Rose Gordon (Kirsten Dunst), Phil turns his cruelty toward her, as well as her teenage son Peter (Kodi Smit-McPhee), in spite of — or is it because of? — some unexpected common ground they share. Not So Old West: The Power of the Dog takes place in rural Montana in 1925, which amounts to a sort of netherworld between Old West imagery and the well-past-d...
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