Why the third Nightmare on Elm Street film is the best in the franchise
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All articles filed in Jennifer Maxwell
Freelance essayist, critic and screenwriter from Vancouver, Canada.
VIFF 2022 REVIEW: ‘Stars at Noon’ is an Uninspired Blunder
Claire Denis newest feature falls short of her regular genius in ‘Stars at Noon’
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TIFF 2022 REVIEW: Lena Dunham Rediscovers her Voice in ‘Catherine Called Birdy’ (2022)
Catherine Called Birdy catches filmmaker Lena Dunham at her most confident yet
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TIFF 2022 REVIEW: Mia Goth Catches the Light in ‘Pearl’ (2022)
“An ode to the dawn of cinema and a reminder of the death of the American Dream.” At the height of the Spanish Influenza and the coup de grace of World War I, an isolated farmhouse occupies acres of land in the southern United States. Inside lives Pearl (Mia Goth), a spirited and passionate young…
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TIFF 2022 REVIEW: ‘Aftersun’ Dives Head First into the Deep End
A24’s newest endeavour takes the plunge but comes up weak in Aftersun
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Girls Will Be Anything But Themselves: An Exploration of Teenage Girls on Film
Exploring the identity crisis trope of teenage girls on film.
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VIFF 2021 REVIEW: How ‘The Scary of Sixty-First’ (2021) Red Pills its Audience
New wave body horror goes IRL in Dasha Nekrasova’s impressive directorial debut.
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VIFF 2021 REVIEW: ‘Red Rocket’ (2021) Reinvents The Hero’s Journey
Sean Baker’s successfully tackles the anti-hero’s journey in his new dramedy Red Rocket.
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‘Melancholia’ (2011) and How I Learned to Stop Worrying and Love the Planet
How Lars Von Trier portrays mental illness as a superpower in Melancholia.
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‘Mulholland Drive’ (2001) and the Artifice of the American Dream
How David Lynch tricks the audience and dismantles the American Dream in Mulholland Drive.
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