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And so Elliott (Bridey, that is), carefully constructs this hybrid haunted dramedy of possession and liberation with scenes of ribald humor and blatant celebration of the convivial joy of group inebriation while simultaneously undercutting their silliness with the sadness of solitary intoxication.

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I met with documentary director Lisa D’Apolito on Thursday, June 14, 2018, at AFI DOCS, to discuss her feature debut Love, Gilda (which I also reviewed). The film offers a comprehensive cinematic portrait of the late, great Gilda Radner, part […]

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Though it has taken 29 years for a proper cinematic homage to make it to the screen, Love, Gilda, director Lisa D'Apolito's documentary-feature debut, was well worth the wait, offering a comprehensive, moving portrait of one of the 20th century's great comedians.

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Though it’s her first feature, Bridey is clearly a studied filmmaker. She doesn’t just understand her father’s signature comedy formula that so deftly combines pathos and lowbrow humor. Her brand of comedy is doused with the dark paranoia of a Roman Polanski film.

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You may think you know where this is going, but I promise, you don’t. Wells’ film vehemently eschews Rom Com tropes.

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For a gifted storyteller like Birbiglia to translate his one-man show routines to satisfying character pieces onscreen speaks volumes for his career as is and it’ll be exciting to see where he goes next.

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