In Chinese culture, the number three is considered lucky for its similarity to the character meaning “life” or “to give birth.” As such, Mountains May Depart makes no small use of significant triptychs in telling its story. The film is segmented into three disparate chapters and time periods; its three main characters are caught up…
“So why do I step upon the ruins of those most near and dear to me, I, who can be so simply and so sharply wounded and can wound others with such deadly ease?” — Yevgeny Yevtushenko, “Wounds” Loneliness and pain can be concomitants of old age, but the wounds may often be self-inflicted. Loosely…
House by the Lake follows a family of three — mother Karen (Anne Dudek, “The Flash” TV series), father Scott (James Callis, “The Hollow”), and daughter Emma (Amiah Miller, “War for the Planet of the Apes”) — through an extremely tumultuous time in their lives. After having learned that Emma, who has strong aversions to…
A young boy, trailing his Radio Flyer down the sidewalk behind him, goes door to door collecting comics. But he is neither superfan nor traveling salesman. Professor Marston and the Wonder Women opens with a book burning demonstration after the most successful female superhero comic has been maligned by its self-righteous critics for its representation…
In Monogamish, director Tao Ruspoli (“Being in the World”) explores the benefits and constraints of the union of marriage while grappling with his own public divorce. The film — part documentary, part self-help journey — opens with Ruspoli penning a letter to relationship and sex columnist Dan Savage. The camera captures Ruspoli as he hand…
When a film relies so heavily on tropes from other iconic comedies it becomes actually quite difficult to not begin mentally comparing it to many predecessors of its kind (the list is rather extensive). Such is the case with Literally Right Before Aaron. Written and directed by Ryan Eggold, it is a comedy that does…
When spotlighting the dysfunctional familial factors in a period piece film set against the background of retro-urban rambunctiousness, it is a creative challenge to balance the ingredients involved: Underlying marital strife, sibling rivalry, adultery, emotional stagnation and fragile relations. In co-writer/director Gillian Robespierre’s nostalgic mid-nineties comedy, Landline, we are whisked back to a “vintage” time…
