Andrew Ventimiglia

Andrew Ventimiglia

Favorite films

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  • The Wild Robot

    ★★★

  • We're All Going to the World's Fair

    ★★★½

  • Alien: Romulus

    ★★★½

  • Emilia Pérez

    ★★

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  • The Wild Robot

    The Wild Robot

    ★★★

    The tyranny of high expectations. Based on the trailer and glowing press, I expected The Wild Robot to be less conventional than it was and also largely to be focused on the events that make up the first 40 minutes of the film. 

    After a brilliant first act and some incredible animation, I wasn’t as engaged by the post-migration sequence of events that eased up on the sci-fi elements and leaned instead into a good animal v. bad technology matchup. 

    Overall,…

  • We're All Going to the World's Fair

    We're All Going to the World's Fair

    ★★★½

    Brilliant debut with some great ideas and an uncanny ability to capture the emptiness of online interaction. 

    Didn’t hit as hard as TV Glow because it’s not as polished, and it doesn’t speak as directly to my experiences as an old. My early formative Internet days were all chat rooms and Napster rather than streaming video and ARGs. Nonetheless, Schoenbrun is a master at representing teenage ennui, loneliness, and that deep unshakable feeling of loss that comes from growing up and desperately looking for connection and meaning in a world that no longer guarantees such things.

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  • Victims of Sin

    Victims of Sin

    ★★★½

    If I were rating my filmgoing experience for this one it would rate a 4 1/2 given I watched a restored print at Film Forum at NYC with a crowd that enjoyed every minute of its pulpy melodramatic nonsense. 

    But the film’s fantastic settings and dance sequences that sit at the intersection of awesome and absurd carry the film and elevate the silly plot about a dancer who falls from fame for adopting a discarded baby (rescued from a trash…

  • The Substance

    The Substance

    ★★★★½

    Of course this was my jam. I’d been looking forward to watching this film since reading the early press from Cannes, and it didn’t disappoint.

    I don’t even mind the contentious Grand Guignol ending which reminded me of the maximalist ending of the Guadagnino Suspiria.

    Look, one of my favorite pieces of film scholarship is Linda Williams’ article on body genres, and this film not only gets added to the canon of body genre films but rockets to the top of the list. A perfect illustration of the genre particularly as it straddles elements of horror, pornography, melodrama, and comedy. 

    What a film.

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