Ella McCay seeks to project optimism in a time of unrelenting divisiveness.
The relative restraint of La Grazia makes its baroque flourishes stand out all the more.
There’s pleasure to Nouvelle Vague’s winking affection for Godard’s Breathless.
Across Park’s film, “no other choice” becomes a kind of disingenuous mantra.
For better and worse, Love, Brooklyn makes little room for cynicism.
For every moment of electrifying horror, the film cleanses the palette with comic relief.
Its pastiche of Into the Spider-Verse is revealed to be nothing more than window dressing.
The video store becomes something self-reflexive across the film’s three-hour running time.