Kyle Logan

1 week ago | screenanarchy.com | Kyle Logan

In his review of Invention, the new film from writer/director Courtney Stephens and actor/writer Callie Hernandez, Martin Kudlac discusses the many ways it explores the lines between reality and fantasy, and how those lines are oddly similar in grief and conspiracy theories. It's a review that makes you want to see the film not only to luxuriate in a beautiful and thoughtful piece of art, but also so that you can talk about it, because there's so much to talk about.

1 week ago | screenanarchy.com | Kyle Logan

In my review of The Hedonist, I wrote about the often hilarious flat affect line deliveries, its stylized editing, and the frankly beautiful use of Robocop references. So when I got the chance to sit down with writer/director/star Nick Funess, star Izzi Rojas, and editor Jordan Somani, I had a lot I wanted to talk about.

3 weeks ago | screenanarchy.com | Kyle Logan

I didn't formally review writer/director/actor Nick Funess's first feature Young Blondes, Stalked and Murdered at last year's Panic Fest, but my two-sentence lLetterboxd review gives a sense of how excited I was about it. I wrote "Nick Funess has the juice. Love when something an hour long wows you." And with The Hedonist, Funess continues to prove he has the proverbial juice.

3 weeks ago | chicagoreader.com | Kyle Logan

A Working Man plays like a mashup of John Wick (2014)and Taken (2008), combining the “Russian gangster’s son messed with the wrong guy” and “human traffickers messed with the wrong guy” premises into something aggressively unoriginal. That’s not a slight, as the movie turns that unoriginality into a feature rather than a bug; it’s a trick that star Jason Statham and director-cowriter David Ayer deftly pulled off with their last film together, The Beekeeper (2024).

3 weeks ago | chicagoreader.com | Kyle Logan

We’ve heard of tone poems, auteurist pieces, and actors’ films, but Warfare may be the first sound department film. The deafening blasts of gunfire, the concussive bangs of grenades and improvised explosive devices, and the warbly echoes of voices that struggle to make themselves known in the wake of violence are front and center throughout the film.