Anita Rocha da Silveira’s “Medusa” does brim with social commentary and reverence of several important topics and transgressions; its best…
Author: Hector Gonzalez
Hector Gonzalez
Hector Gonzalez is a Puerto Rican, Tomatometer-Approved film critic and the Co-founder of the PRCA, as well as a member of OFTA and PIFC. He is currently interested in the modern reassessment of Gridnhouse cinema, the portrayal of mental health in film, and everything horror. You can follow him on Instagram @hectorhareviews and Twitter @hector__ha.
“The Story of My Wife” (“A feleségem története,” original title) is a gorgeously-looking 3-hour romance epic about jealousy, amorous escapades,…
“The Mad Women’s Ball” (“Le bal des folles,” original title) has something missing in its narrative that leaves the audience…
Rob Savage’s follow-up to “Host” (2020), “DASHCAM,” is an anarchic disappointment. It has the bloody brigades for gorehounds, except it is…
Lucile Hadžihalilović continues her streak of crafting nightmarish fever-dream-esque films with her latest, “Earwig,” which is a weird film that…
“I’m Your Man” once again questions whether humans and artificial intelligence can build a relationship together with a rom-com twist…
Edgar Wright’s “Last Night in Soho” has a killer soundtrack, Giallo references, a magnetic ‘60s style that fizzes and pops,…
Antione Fuqua’s remake of “The Guilty” has some thrilling moments, thanks to Jake Gyllenhaal’s performance; however, it lacks the impact…
“Mothering Sunday” is yet another period piece with great performances, beautiful cinematography, posh costumes, and has an excellent score to…
“A Banquet” starts as an interesting tale of higher-power possession with a strong performance by Jessica Alexander and a nice…