The Only Living Pickpocket in New York — Video Review
Spoiler-free review of Noah Segan’s The Only Living Pickpocket in New York, starring John Turturro, Giancarlo Esposito, Will Price, Tatiana Maslany, and Steve Buscemi.
Now in theaters in NYC and LA.
In theaters nationwide on October 30th.
A Statement — NYFF Review
In 1980, a group of environmental activists, scientists, policymakers, lawyers, and other professionals gathered in St. Petersburg, Florida, for a conference with a mandate from Congress to draft a statement on how to address the effects of carbon dioxide emissions on the climate. This conference is one microcosm of Nathaniel Rich’s 2019 non-fiction book, Losing Earth, but it’s the focus of Tom McCarthy’s new film, A Statement. Based on Rich’s book and the meeting transcripts, McCarthy penned the screenplay with Thomas Bidegain and Noé Debré. What’s ironic, however, is that although the film takes its title from the meeting’s objective, A Statement itself feels much more like a dialogue. Furthermore, its urgent subject matter is likely to spark conversations among moviegoers.
Bitter Christmas — NYFF Review
While watching Pedro Almodóvar’s Bitter Christmas, I found myself thinking that it’s an enjoyable, sufficiently entertaining movie, but it definitely ranks lower than the vast majority of the auteur’s filmography. The funny thing is, Almodóvar himself seems to be cognizant of this and addresses it through the film’s self-reflexive humor. It’s a film that’s meta on multiple levels, almost to a fault. Almodóvar uses its layers of filmmaking-within-filmmaking to examine his own creative process and legacy, resulting in a film that is fascinating to think about, albeit forgettable. Bitter Christmas feels simultaneously deeply personal yet detached from the qualities that have often made Almodóvar’s films so distinctive and memorable.
Gail Daughtry and the Celebrity Sex Pass — Video Review
Spoiler-free video review of David Wain’s Gail Daughtry & the Celebrity Sex Pass, starring Zoey Deutch, Miles Gutierrez-Riley, John Slattery, Ben Wang, Ken Marino, Sabrina Impacciatore, and Jon Hamm.
I Swear — Review
After the controversy at the 79th British Academy Film Awards (BAFTAs), when John Davidson’s tics were audible, and a racial slur went uncensored in the broadcast, it became clear how widely misunderstood Tourette syndrome still is. Many viewers failed to recognize that Davidson’s tics are involuntary and do not reflect his character. This misunderstanding was compounded by the fact that I Swear, a film about Davidson that directly addresses these issues, had not yet been released in the United States before the ceremony. Although the film had already been released in the United Kingdom, where Robert Aramayo won the BAFTA for Best Lead Performance, U.S. audiences had not yet had the opportunity to engage with its perspective. As a result, many American viewers reacted with outrage to the incident, lacking the context the film might have provided. While Kirk Jones’s I Swear does not deviate from the traditional biopic structure, it is evident that Davidson’s story still needs to be told on a global scale, making the film especially urgent.
Blue Moon — Review
In October 2025, renowned filmmaker Richard Linklater presented us with two films about unconventional artists, both of which explore how style can intersect with substance. Nouvelle Vague, his film about the making of Jean-Luc Godard’s Breathless, is shot in the style of the French New Wave. Blue Moon, which tells the story of lyricist Lorenz Hart, is a chamber piece that unfolds with the intimacy of live theater. However, despite being released in the same month, the two works could not be more different. Nouvelle Vague embodies the energy and spirit of the French New Wave, paying tribute to the filmmakers who defined the movement. In contrast, Blue Moon is more restrained and introspective, a poignant character study that examines themes of art, success, fame, sexuality, legacy, and loneliness.
Eleanor the Great — Review
Scarlett Johansson’s directorial debut Eleanor the Great is equal parts heart-wrenching and heartwarming. On paper, Tory Kamen’s script might seem like a tough sell. The premise alone could raise eyebrows or even appall some viewers, but it is handled with remarkable sensitivity and sincerity. Thanks to Johansson’s gentle direction and June Squibb’s multifaceted performance, the story comes to life in a way that feels surprisingly sincere, unexpectedly funny, and deeply emotional.
Oh, Hi! — Video Review
Video review of Sophie Brooks’ film Oh, Hi! starring Molly Gordon and Logan Lerman