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YOU WON’T BE ALONE (IN THEATRES)

Gratuitous gore, guts and inhumaneness inform the premise of writer/director Goran Stolevski’s film, located in 19th century Macedonia; witches, lusting after the blood of newborns, muting infants; girls are the ultimate prey, transformed into cannibals, they mutilate with impunity, slaughtering for revenge, power; anthropophagites devouring each other, only to become the devoured; savagery stars in this baseless thriller; identity wallows ... Read More »

RUMINATIONS ON THE 94th ACADEMY AWARDS

Brash, bold, colorful couture bombarded the red carpet; I never realized that would be the highlight of the evening; an evening that suffered a low never experienced in Academy Award history; dignity destroyed on an altar of self-righteousness; no rebound, no “win” can ever erase or reward egregious behavior, witnessed worldwide. The actor should pray for paltry ratings.  As in ... Read More »

PENEFLIX PREDICTIONS: 2022 ACADEMY AWARDS

Testament to the magnetic power of film, its accessibility, universal appeal, regardless of age, gender, heritage it has generated almost as many critics as imbibers; periodically you experience a critic, a devotee of the genre that soars above the flock, a person with an inimitable command of the English language; vocabulary alone paints a filmic scene, in no need of ... Read More »

THE BOMBARDMENT (NETFLIX), THE KASHMIR FILES (HINDI: ENGLISH SUBTITLES) IN THEATRES

Two explosive and extremely traumatic films based on actual events; one inadvertent and one intentional; both are viscerally challenging to watch. “The Bombardment” from its inception is shocking: an idyllic landscape in the outskirts of Copenhagen witnesses the bombing of a taxi holding three virginally beautiful women in white; a young cyclist, “Henry” (Bertram Bisgaard) rendered mute by the sight ... Read More »

JHUND (HERD) (HINDI: ENGLISH SUBTITLES) in theatres

Years ago, a friend and I had the privilege of touring the Dharavi slum in Mumbai; staggering in its viability, actuality in its focus on poverty at its nadir, but also depicted the ingenuity of its in habitants; it was a hotbed of industry, vibrating with entrepreneurship: bakeries, cleaners, schools, with uniformed children; these inspirational exceptions eased, but did not ... Read More »

DRIVE MY CAR (JAPANESE: ENGLISH SUBTITLES)

The complexities, literary, cultural references are vastly entertaining, if you recognize the sources of enlightenment, but even if you enter this divine diversion with a pure mental slate “Drive My Car” will cling fervently, entrenched perpetually in one’s filmic library. Admirers of Russian playwright and short story writer, Anton Chekhov (1860-1904), introducing modernism, revolutionizing the short story genre, a symbol ... Read More »

THE WORST PERSON IN THE WORLD (NORWEGIAN: ENGLISH SUBTITLES)

Earlier this week I was privileged to be included in a lecture on “Identity” given by the eponymous, brilliant Founder of “The Nourishment Projects”, Soma Roy; a mind of infinitesimal scope, encompassing vast cultures, wondrous landscapes, elements of all matter; religion, philosophy, mythology, varied forms of music, art; as an engineer, “master of the universe” she heuristically enables her audience ... Read More »

NETFLIX SCORES IN DUPLICATE: “RIDE LIKE A GIRL” & “THE TINDER SWINDLER”

Both films based on actuality, finely tuned truthful tales, handled with keen finesse by directors Rachel Griffiths (Ride…) and Felicity Morris (Tinder…); females depicting, with esteem, diplomacy, and admiration, the triumphs and travails of notable women. “RIDE LIKE A GIRL”. In the recently reviewed “Jockey” we witnessed the excruciating process of a man’s mission to stay in the horseracing arena; ... Read More »

NETFLIX TO THE RESCUE: “A HERO” (PERSIAN: ENGLISH SUBTITLES), “MUNICH: THE EDGE OF WAR”, “MY FATHER’S VIOLIN”

“A HERO”. Academy Award winning  director Asghar Farhadi’s (“A Separation”, “A Salesman”) latest auteur challenge is just as complex and ambiguous as his previous winners; he is a man whose pleasure lies in allowing viewers subjective interpretations of characters, events; filling in the blanks, solving the complexities; just when you feel the issues have been answered, Farhadi, with supple skill, ... Read More »

83 (HINDI: ENGLISH SUBTITLES, in theatres), FLEE (DANISH: ENGLISH SUBTITLES in theatres)

Bollywood treats its cricketers with reverence, without eradicating human frailties, giving them life and vibrancy, palpating exuberance informs every scene, seizing the viewer’s attention from commencement to conclusion; director Kabir khan, focuses on the 1983 World Cup and India’s gut-wrenching march to grasp an almost unattainable victory; the “march” is worthy of every moment, every second of “83’s” compelling quest. ... Read More »

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