The Nowhere Inn, director Bill Benz's metafictional feature about the musician St. Vincent, opens today in theaters and is also available to rent from major online platforms. Critic Joshua Ray has a review:
In a new essay, critic Joshua Ray looks at three recent films -- Aretha Franklin biopic Respect, Sundance darling CODA, and 1990s UK period drama Beats -- and how they express the agony and ecstasy of music:
The new animated feature The Witcher: Nightmare of the Wolf premiered on Netflix last week, where it serves as a prequel to the streaming giant's live action series The Witcher and as standalone dark action-fantasy story. Critic Andrew Wyatt reviews this latest anime-style production from South Korea's Studio Mir (The Legend of Korra, Voltron: Legencary Defender):
The ongoing 13th Annual Robert Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. As a preface to this Saturday's festival screening of Jacques Deray's La Piscine (1969), critic Kayla McCulloch provides an appreciation of the film:
The ongoing 13th Annual Robert Classic French Film Festival celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. Prior to the August 22 festival screening of Jean-Jacque Beineix’s Betty Blue (1986), critic Andrew Wyatt provided an introduction to the film. A written version of this introduction can be found at CSL's The Lens:
With the arrival of James Gunn's The Suicide Squad in theaters and on HBO Max last weekend, critic Andrew Wyatt recommends WB Animation's ongoing series, Harley Quinn. He says that the R-rated animated show -- two seasons of which are now available to stream on HBO Max -- works as a witty buddy sitcom, as a slow-burn romance, and as a caustic satire of the superhero genre:
Lens critic Andrew Wyatt looks at the past month's new streaming and VOD horror features, including Caveat, Censor, An Unquiet Grave, False Positive, and Werewolves Within.
Director Mariem Pérez Riera's new biodoc, Rita Moreno: Just a Girl Who Decided to Go for It, is now playing in theaters. Lens critic Kayla McCulloch has a review of the film:
As a follow-up to this week's online discussion of Elaine May's A New Leaf (1971) with Carrie Courogen — associate editor of Bright Wall/Dark Room and author of a forthcoming biography of May — Lens critic Kayla McCulloch has an appreciation of the director's "amusingly macabre" screwball comedy.