Movie Reviews by Beatrice Loayza - Page 2 of 5

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Review of Three Minutes: A Lengthening (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 18 Aug 2022

“Three Minutes” is more than a documentary about the Holocaust — it is an investigative drama, a meditation on the ethics of moving images…

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Review of Bliss (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 05 Aug 2022

We tend to look at the sex lives of sex workers as endlessly fascinating, but in Bliss the line of work is instead part of a larger take on…

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Review of Medusa (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 28 Jul 2022

Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty…

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Review of Medusa (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 28 Jul 2022

Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty…

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Review of Medusa (2021)

By Beatrice Loayza (94) for The New York Times (9,847) on 28 Jul 2022

Though dressed in shock-value clothing, Medusa is also a straightforward character study, tackling issues like the scourge of Western beauty…

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Review of Earwig (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 14 Jul 2022

Hadzihalilovic is an expert conjurer of other worlds, and “Earwig” unearths a startlingly seductive array of visual and sonic textures…

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Review of Mrs. Harris Goes to Paris (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 14 Jul 2022

Despite its gleeful showcasing of beautiful clothes and vibrant midcentury Parisian sights, the film is caught between its fantasies and its…

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Review of Moon, 66 Questions (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 07 Jul 2022

Lentzou, with her first feature no less, gets at something much knottier about what it feels like to get older and perceive your parents as…

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Review of The Art of Making It (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 29 Jun 2022

Edwards’s generic approach — heavy on talking heads and explanatory title cards — often yields fuzzy results, with a haphazard rush of…

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Review of The Janes (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 09 Jun 2022

Cookie-cutter though it is, The Janes does have something going for it: its interview subjects, the former Janes, who all speak about their…

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Review of Maika: The Girl From Another Galaxy (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 02 Jun 2022

Maika” stands out for its moments of weird eccentricity…

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Review of Deception (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 19 May 2022

True, its hero is a philandering middle-aged novelist; he has an affair with a divine younger woman; and there’s even an imaginary trial…

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Review of Deception (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 19 May 2022

True, its hero is a philandering middle-aged novelist; he has an affair with a divine younger woman; and there’s even an imaginary trial…

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Review of ¿Y cómo es él? (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 21 Apr 2022

Though Winograd questions the film’s gender biases in the conclusion, he does so unconvincingly…

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Review of Marvelous and the Black Hole (2022)

By Beatrice Loayza (94) for The Playlist (3,871) on 21 Apr 2022

Writer/director Kate Tsang cleverly straddles childhood fantasy with the baser impulses of adolescence, drawing an angsty portrait of teenage…

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Review of Wood and Water (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 25 Mar 2022

With a kind of dissociative, jet lag-induced delirium, the film transitions — somehow fluidly — from the lush woodlands and desolate churches…

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Review of Jane by Charlotte (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 17 Mar 2022

Clearly a pet project for Gainsbourg (whose own electronic pop songs feature prominently in the soundtrack, clashing against her mother’s…

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Review of NO EXIT (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 25 Feb 2022

No Exit drops an arsenal of twists and rug-pulls at a machine gun’s pace, though Power, the director, doesn’t quite know how to milk the…

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Review of No Exit (2022)

By Beatrice Loayza (94) for The New York Times (9,847) on 25 Feb 2022

No Exit drops an arsenal of twists and rug-pulls at a machine gun’s pace, though Power, the director, doesn’t quite know how to milk the…

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Review of Ted K (2021)

By Beatrice Loayza (94) for The New York Times (9,847) on 17 Feb 2022

The film is a tad reductive, leaning too heavily on currently fashionable explanations for why lonely white men resort to violence…

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