Kevin is a freelance writer and film critic who lives in Manhattan with his family. In addition to film criticism, he writes short fiction. Kevin's main area of interest is misunderstood older films, which he prefers to watch either at NYC's Film Forum or on DVD at home.
Theda Hammel’s “Stress Positions” is an unapologetic steamroller, a high-octane hangout comedy that remarkably conjures a sense of nostalgia for…
Leave it to Ken Loach, that grizzled realist, a seven-decade surveyor of the British working class, to make a sly…
Rare is the film that ought to be longer; bad films are often too long and the greatest are able…
A maze of excess which pairs peril and sudden shrieks of laughter, Aaron Schimberg’s “A Different Man” basks in a…
The plot description for Jessica Hausner’s “Club Zero” suggests viewers ought to take a deep breath before watching, in expectation…
Hirayama’s on the road, off to clean some toilets. The soundtrack, a cassette tape, preferably The Kinks, Patti Smith, or…
Approaching Andrew Haigh’s bewitching “All of Us Strangers,” it’s best to submit to the film’s every whim. This intimate, heartbreaking…
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,…