TO KILL A WOLF isn’t going to be for everyone. It’s a rough watch at points and its subject matter can be triggering. For those that connect with it there’s an tight, jangling experience to be found. It’s one of the best films of 2024 and one of the most interesting debuts in recent memory.
Highs, lows, sex, death, triumph, and consequences are all played stark naked with no holds barred. Tyler Nilson and Michael Schwartz start the incredible LOS FRIKIS in punk rock Havana and end it in a quiet nature, separated from the domestic crisis so these kids can finally be open together.
Existing at the intersection of business and misogyny, Woman of the Hour takes a serial killer story on an L.A. TV set and adds new depth to it.
OTHELO, O GRANDE’s issue is that the subject’s vibrancy is highlighted at the expense of direct focus on some of the most interesting parts of the actor’s life.
Most of the focus is turned towards Vandross’s passion for perfection, his love of great black female vocalists, and the love he inspired in others. LUTHER: NEVER TOO MUCH is, in short, a very lovely and moving portrayal of an artist.
Yo Tenía Una Vida’s tragedy unfolds in waves, starting with hope and ending in dehumanizing despair.
Bigger doesn’t always equal better but Parker Finn’s sequel is a huge step up from his debut flick. Smile 2 was a genuine surprise and a genuine delight.
The sophomore film from Coralie Fargeat is a winner but will most likely be too disgusting for a good amount of viewers. I felt thrilled, elated, disgusted, and even attacked at times. Art for art’s sake, and The Substance is a piece that will stun if you engage with it on its level.
Under the surface of the film is something so deeply personal that it adds a simmering tension, making the fear and violence more palpable.
Anthology films are a fun but uneven beast, which makes V/H/S/Beyond all the more impressive for remaining consistently entertaining and eerie throughout.
