In Review Online - There Were No Gods Left (Page 2)

There Were No Gods Left

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In Review Online

A collection of 64 posts

Orenda — Pirjo Honkasalo [IFFR ’25 Review]

Orenda — Pirjo Honkasalo [IFFR ’25 Review]

Orenda is by no means a bad film and in fact mightily impresses in moments, its inconsistency undermines testimony of any genuine orenda.

Star Trek: Section 31 — Olatunde Osunsanmi

Star Trek: Section 31 — Olatunde Osunsanmi

The Star Trek franchise has finally delivered its first truly unwatchable feature film

Heavier Trip — Juuso Laatio & Jukka Vidgren

Heavier Trip — Juuso Laatio & Jukka Vidgren

This is likely the kind of thing that Werner Herzog was talking about when he said, “I’m fascinated by trash TV. The poet must not avert his eyes.”

The Fix — Kelsey Egan

The Fix — Kelsey Egan

The Fix, a new South African sci-fi film that takes place in a world where breathable air is a thing of Earth’s pastime, opens perfectly.

Magpie — Sam Yates

Magpie — Sam Yates

Magpie is the latest boring and impotent addition to the genre shelf.

Aberdeen — Ryan Cooper, Eva Thomas [TIFF ’24 Review]

Aberdeen — Ryan Cooper, Eva Thomas [TIFF ’24 Review]

Perhaps it’s still an important film, but it’s not particularly good.

The Critic — Anand Tucker

The Critic — Anand Tucker

Any movie that features a theater critic as a main character invites more intentional criticism.

Maldoror — Fabrice Du Welz

Maldoror — Fabrice Du Welz

this anti-creative decision turns out to be an predictive of the woefully misguided and frankly arrogant film that it precedes.

Dancing Village: The Curse Begins — Kimo Stamboel

Dancing Village: The Curse Begins — Kimo Stamboel

Instead of relying on jumping out of closets and dark rooms to generate one-second bodily reactions, The Curse Begins funneled its horror through the horrible realization that one day, if you aren’t already, you too will grow old and decrepit.

12.12: The Day — Kim Seong-su [NYAFF ’24 Review]

12.12: The Day — Kim Seong-su [NYAFF ’24 Review]

“In the end, they swallowed up the nation as a whole.”

Kubi — Takeshi Kitano [Japan Cuts ’24 Review]

Kubi — Takeshi Kitano [Japan Cuts ’24 Review]

It’s just a shame, and a stain on the film, that the arrival of a distorted Japan comes by weaponizing queer sexualities.

Kalki 2898 AD — Nag Ashwin

Kalki 2898 AD — Nag Ashwin

There simply isn’t a more entertaining film in theaters right now.

Trigger Warning — Mouly Surya

Trigger Warning — Mouly Surya

If you watch Trigger Warning, Netflix’s latest big-budget action movie, with captions turned on, you may notice the phrase “terrorist, in Arabic” in the film’s opening scene.

Bikechess — Assel Aushakimova

Bikechess — Assel Aushakimova

Bikechess is a strange name for Assel Aushakimova’s latest work.

Silent Land — Aga Woszczyńska

Silent Land — Aga Woszczyńska

Silent Land bores by reveling too much in its own insincere cleverness, even if Woszczyńska and her filmmaking team show promise as visual thinkers.

The Sales Girl — Sengedorj Janchivdorj

The Sales Girl — Sengedorj Janchivdorj

“The thing in the corner is a vagina tightener."

Jeanne du Barry — Maïwenn

Jeanne du Barry — Maïwenn

After acknowledging all of these insurmountable asterisks ... one can admit that Jeanne du Barry still succeeds in many respects.

The Roundup: Punishment — Heo Myeong-haeng

The Roundup: Punishment — Heo Myeong-haeng

The copaganda finally outruns the action choreography.

The Three Musketeers: Part II – Milady — Martin Bourboulon

The Three Musketeers: Part II – Milady — Martin Bourboulon

A specter is haunting cinema — that of commercial modernity.

Sweet Dreams — Ena Sendijarevic

Sweet Dreams — Ena Sendijarevic

A pregnant woman nearing delivery self-pleasures by rubbing her privates against a bedpost.

Housekeeping for Beginners — Goran Stolevski

Housekeeping for Beginners — Goran Stolevski

Although Goran Stolevski’s third film only features one gay sex scene and next to no same-sex romantic intimacy, Housekeeping for Beginners has a claim as one of the queerest films of the 2020s so far. That his first two films, You Won’t Be Alone and Of An Age,

Gwetto — Michaël Andrianaly [First Look ’24 Review]

Gwetto — Michaël Andrianaly [First Look ’24 Review]

“400,000 FMG isn’t a wage,” one Malagasy car wash customer admits to documentarian Michaël Andrianaly’s camera in regard to the workers at the wash. At least, not a living wage. The exchange rate is approximately 1 FMG to 0.0002995 USD, and that makes 400,000 FMG

The Animal Kingdom — Thomas Cailley

The Animal Kingdom — Thomas Cailley

Both the film’s premise and actress Adèle Exarchopoulos are underutilized.

Chronicle of a Disappearance — Elia Suleiman

Chronicle of a Disappearance — Elia Suleiman

The staff of In Review Online have come to the collective decision to abide by the international call from Strike Germany. We will be withholding coverage of the Berlin International Film Festival on the grounds that its institutional backing from the German government is marred by the latter’s censorship

Style as Political Substance, or The Bosnian Master: The Case for Danis Tanović

Style as Political Substance, or The Bosnian Master: The Case for Danis Tanović

Danis Tanović might be the most personal, visually compelling, and thematically thoughtful political auteur working in European cinema. And regrettably, his name will largely go unrecognized by even the most globetrotting and well-watched of cinephiles. With very few exceptions, Western film lovers have failed to properly appreciate Tanović’s best