Approaching Andrew Haigh’s bewitching “All of Us Strangers,” it’s best to submit to the film’s every whim. This intimate, heartbreaking…
Author: Kevin Parks
Kevin Parks
Kevin is a freelance writer and film critic who lives in New York. His favorite director is Robert Altman and he dearly misses Netflix's delivery DVD service.
Wim Wenders’ “Anselm” is a striking visual feat, aiming to be both a history lesson and extended primer on the…
In a recent New York Times profile, Jack Fisk, ace art director for Terrance Malick’s “Days of Heaven” recalled the…
The introductory prep school shenanigans—your mom jokes, bartering for weed—in Alexander Payne’s “The Holdovers” mostly serve to generate cheap laughs,…
The fundamental question that drives Justine Triet’s taut Palme D’or winner “Anatomy of a Fall” is whether blaring 50 Cent’s…
Michael Mann’s “Ferrari” throbs with danger, navigating a whipsawing course of hair-raising thrills and bone-chilling hazards while maintaining a steady,…
The chief concern of Rosine Mbakam’s “Mambar Pierrette” is the fight to survive. But, if that summary regales a large-scale…
The seventeenth edition of the New York Film Festival opened with the Italian provocateur Bernardo Bertolucci’s “Luna” (1979), a love…
It would be simple to call Radu Jude’s “Do Not Expect Too Much From the End of the World” this…
Making a stark pivot from the Manhattan humor and hijinks of Moonstruck (1987) – complete with an opera-obsessed, tortured man…