Ryan Lattanzio

My review of THE BRIDE!, a conspicuously DC-coded mess with a blunt statement about female oppression that feels caught in a drain somewhere around MeToo-era 2017, and Jessie Buckley styled like a mental patient escaped from the Hot Topic pop-up at Arkham Asylum.

THIS MOVIE. Hold onto your fucking hat, er, trousers.

Any movie — especially a horror one about queer desire and being literally terrorized by an unrequited love — with Frank Ocean’s “Self Control” on the soundtrack has my heart. LEVITICUS is among the best movies at #Sundance. Anguish, yearning. Have been unwell ever since.

And WICKER, which I came around to liking, a bawdy period sex comedy in which Olivia Colman fucks Alexander Skarsgard, who plays a man made of wood: indiewire.com/criticism/movi…

THE GALLERIST, with Natalie Portman, pained me at #Sundance: indiewire.com/criticism/movi…

Hi from #Sundance! Sharing some of my reviews here, starting with THE MOMENT, in which Charli XCX asks, "Is that all there is to a brat summer?" with a mostly shallow satirical flex: indiewire.com/criticism/movi…

Todd Field on ‘Eyes Wide Shut’ and His First Meeting with Stanley Kubrick: ‘I Know Who the F**k You Are, I Hired You’ indiewire.com/features/inter…

Kicking off a week of EYES WIDE SHUT-centric content at IndieWire in time for the @Criterion release, my interview with DP Larry Smith with memories from Stanley Kubrick’s set — and on the superiority of the new version.

Went long on DIE MY LOVE with Lynne Ramsay who, in her charmingly strong Scottish accent, talked cuts made since Cannes and Scorsese's support, anxiousness around WE NEED TO TALK ABOUT KEVIN's premiere, and MORVERN CALLAR's unexpected popularity with Gen Z.

@TomiLaffly thank you tomris!!

Welcome Ryan (@ryanlattanzio), a terrific film critic with such stylish prose, as well as a wonderful editor and lovely human. I’m so happy that he is now:

@NextBestPicture thank you matt!

Happy for you man @ryanlattanzio!!! Hope to join ya someday!

Spoke to Rose Byrne and writer/director Mary Bronstein in depth about IF I HAD LEGS I'D KICK YOU, one of the best films of the year and one so dread-soaked and Byrne-peak-performance-steeped that you emerge feeling drenched. And eager to see it again. indiewire.com/features/inter…

Kogonada's "A Big Bold Beautiful Journey," which he directs from a lousy and mawkish Black List script, is neither bold nor beautiful, and features a Margot Robbie who is styled like she just came back from a semester abroad in Londontown. My review. indiewire.com/criticism/movi…

Spoke to "Megadoc" director Mike Figgis about his "Megalopolis" making-of documentary, Shia LaBeouf's temperament on set, Francis Ford Coppola's mercurial style, and what Figgis actually thinks about the movie... indiewire.com/features/inter…

#Venice: Kathryn Bigelow's explosively entertaining cautionary tale about the U.S. government's response to a fictional-in-premise-only nuclear attack will ruin your day. You're welcome. Read our Critic's Pick review for "A House of Dynamite": indiewire.com/criticism/movi…

I spoke to Celine Song about her new film MATERIALISTS (and will have more to share from her this weekend on the film's ending): indiewire.com/features/inter…

I spoke to Sarah Polley about length about many things besides THE STUDIO — from a critic who told off TAKE THIS WALTZ to her face after a press screening to where the legacy of Alice Munro, whose story she adapted for AWAY FROM HER, stands after last year’s unsettling news.

Todd Solondz on ‘Palindromes’ Restoration and His Stalled ‘Love Child’: ‘It Could Happen Tomorrow… Or It Could Never Happen’ indiewire.com/features/inter…

this movie rules

‘Kiss of the Spider Woman’ Review: Jennifer Lopez Is an Out-of-this-World Diva in a Musical Movie That Struggles to Land Back on Earth indiewire.com/criticism/movi…