by Jaime Rebanal

A Conversation with Sarah Polley

In December of 2022, I had the pleasure of chatting with writer-director Sarah Polley about her new film Women Talking. The film, based on Miriam Toews’s novel of the same name, tells the story of the women in a Mennonite colony coming to grips with the fact that they have been sexually assaulted by the men in their lives, and debilitate while the men are absent from their community about what their options are in order to create better lives for themselves: leave the colony, fight for their own rights, or stay and do nothing.

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by Jaime Rebanal

‘The Fabelmans’ TIFF Review: Steven Spielberg’s Bittersweet Ode to the Magic of Movies

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Over his long and incredibly prolific career, Steven Spielberg shows yet another side to his own filmmaking that only reaffirms his status as one of the greatest working American filmmakers. To a filmmaker like Steven Spielberg, merely watching the movies alone isn’t a magical experience, but the building blocks for making them are just as magical – and have shaped an entire world for him. But the greatest thrill about watching Spielberg taking his audience to his own childhood is that for those of us who have been watching his films for so long, he’s showing us where everything we loved about his works has come about, in a work that’s clearly an extension of himself in The Fabelmans.

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by Jaime Rebanal

‘Decision to Leave’ TIFF Review: A Seductive, Erotic Mind Game from Park Chan-wook

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No one makes thrillers like Park Chan-wook does, whether you’re watching a film like Oldboy, Lady Vengeance, or The Handmaiden, they always feel like there’s much more going on beyond the usual mystery at hand. This is where now, with Decision to Leave, Park Chan-wook goes forth with making a film clearly echoing the films of Alfred Hitchcock and the like, and he shows himself to be the closest thing we have to a modern-day equivalent. Like The Handmaiden, it’s very evidently romantic, but also just deeply twisted in ways that tap into the darkest desires of those around you, to the point that the central mystery isn’t the entire thrill as much as it is the whole world that Park builds to surround it.

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by Jaime Rebanal

‘The Whale’ TIFF Review: A Shattering Comeback for Brendan Fraser

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When you look at the premise for a film like The Whale, one can only imagine how this premise could be difficult to pull off successfully. In the hands of a filmmaker like Darren Aronofsky, much suspicions could be raised, but he manages to pull off what might be his most hopeful film thus far. Perhaps that’s not to say he doesn’t find himself potentially dragging his viewers back into a territory of simple misery porn when the central focus is Brendan Fraser’s character and his deathly obesity, yet the case being presented is far more thoughtful. And like Requiem for a Dream was for many, The Whale can be tough – but when Darren Aronofsky is at his best, he shows himself to be a wholly thoughtful filmmaker. This is where I find The Whale lands.

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by Jaime Rebanal

‘Triangle of Sadness’ TIFF Review: Palme d’Or Winning Satire Comes Packaged Without Filter

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Ruben Östlund wins the Palme d’Or at Cannes again, following his first win with 2017’s The Square – and he certainly hasn’t gotten any less vicious ever since. With Triangle of Sadness, Östlund goes without being filtered, his satire feeling like it’s reached a new height, showing the lifestyles of the rich at their most vulnerable. It’s only the least of where all the riotously funny moments from Triangle of Sadness come about, but watching everything come together is where one could only get the feeling that it’s only playing out like a time bomb and as the audience, you’re waiting for everything to explode at some point or another. And the moment the explosion hits, it’s hard to look away from the chaos.

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by Jaime Rebanal

‘Bros’ TIFF Review: Baby Steps First, but a Nice Leap for Mainstream Queer Representation

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Bros is a romantic comedy like most others you’ve seen in the past few decades, but what sets itself apart comes from how this is the first film released by a major studio to feature an almost entirely LGBTQ+ cast for a wide theatrical release. This is the one aspect about Bros that gets touted most, especially by its director Nicholas Stoller and co-writer/star Billy Eichner, but to a certain point you can clearly tell that this is something getting to Eichner’s own head. Yet there’s still much to love about how Eichner and company care about how they want this film to provide a voice for gay viewers within mainstream film, and on that end, Bros is very cute all around.

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by austinshinn

E.T. The Extra-Terrestrial Review: A Gentle Giant

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What is there to say about a film that for many years was the highest grossing film ever? A film that is universally beloved? A film that has been covered and studied and dissected endlessly?

Well I saw E.T. The Extra-Terrestrial this week in IMAX so I’m going to try. But I’m not going to add much new to the discussion of a film that’s exactly correctly rated in our culture. It’s a timeless classic. And I have no issue with it.

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by austinshinn

‘The Bob’s Burgers Movie’ Review: A Quiet Jewel

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It’s weird to call an adaptation of a long running, moderately popular show a sleeper but that’s where we are. The Bob’s Burgers Movie is a throwback to the old school simple comedy theaters used to run on hot summer days. It’s modest with low stakes and a very chill energy level. Yet is it weird I enjoyed this more than almost every other franchise movie we got this year. Marvel hasn’t touched the heights of a family trying to float a single payment.

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by austinshinn

Beavis and Butt-Head Do The Universe Review: As Much Effort As The Characters Give

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I own the complete DVD set of Beavis and Butt-Head. I bring that up at the start of this review to stress this is not a review coming from the perspective of a past tense fan who only remembers the show. No, I watch it frequently as an adult. I love the show’s darkly nihilistic look at people who never had a chance and who you start to think don’t deserve one. There’s a grit and sleaze to the animation. And of course the fantastic 1996 film looms large for me, a razor sharp parody.

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by Jaime Rebanal

‘RRR’ Review: Radical, Revolutionary, and it comes highly Recommended

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Rise, Roar, Revolt: these are the three R’s that make up the acronymous title of S. S. Rajamouli’s RRR, a Telugu blockbuster now catching the eyes of viewers in the west. As the film made waves around said viewers, it’s hard to go ignore how people have been talking about the film compared to western blockbusters: but that also shuts out talking of this Tollywood (not Bollywood!) film on its own terms, where it’s just a great time all around. I certainly am not the first to admit my experience with Indian cinema happens to be very limited, but nonetheless I can’t help but be taken aback by the scale of RRR.

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