Review: The Dead Don’t Die

While its overall style of excessively literal deadpan humour won’t be to everyone’s taste (especially horror fans going into this expecting a broader, gorier zombie comedy), The Dead Don’t Die is a silly, unpretentious, and admittedly slight bit of good fun from art house darling Jim Jarmusch.

Review: Suspiria

Artistically and thematically indulgent to the point of becoming top-heavy and ponderous, award winning filmmaker Luca Guadagnino’s alternatingly loose and constricting reworking of Dario Argento’s horror thriller Suspiria is one of the most interesting, and least entertaining misfires of recent memory.

Review: the documentary ‘Letters from Baghdad’

Gertrude Margaret Lowthian Bell was a cultural trailblazer whose historical, cultural, artistic, and archaeological research changed perceptions of the Middle East. But like many intelligent women, Bell – who was once quietly regarded as the most powerful female in the British Empire – saw many of her contributions ignored, suppressed, or erased from public and private record. That’s staggering when one considers that she was hugely instrumental in the fight for Iraqi independence from British rule and basically redefined the borders in the region that are more or less still in use today. Filmmakers Sabine Krayenbühl and Zeva Oelbaum aren’t content to merely look back on Bell’s legacy, but let their subject speak for herself in the well researched and assembled documentary Letters from Baghdad.

Review: ‘Okja,’ starring Tilda Swinton and Jake Gyllenhaal

Korean filmmaker Bong Joon Ho delivers another fantastical allegory with Okja, following similarly themed, but perhaps more action packed efforts like The Host and Snowpiercer. While those films were a lot darker and more relentless in their approach and aims, don’t let Okja’s overall gentility and flashes of kindness fool you. This is just as cutting, biting, and insightful as his previous works. It’s still not a subtle effort, and a lot of the messages can easily be seen on the film’s surface without much digging or unpacking, but that approach works well with Joon Ho’s tendency towards science fiction and the ethereal.