Dan Callahan

Dan Callahan TheWrap Feb 10, 2023 Every scene and every close-up of a stitch in “The Blue Caftan” feels like an eternity. Go to Full Review The Blue Caftan (2022) 96% 88%

Dan Callahan TheWrap Jan 23, 2023 So lost in Silva’s solipsistic and wishy-washy negativity that nothing gets shaped. If you’re going to be as negative as Silva is being in this movie, then you need to go all the way with it and be extremely negative and specific. Go to Full Review Rotting in the Sun (2023) 82% 71%

Dan Callahan TheWrap Jan 21, 2023 A triumph for Bernal and for Williams and all his collaborators, a film that takes on very fresh territory and suffuses all of its frames with love for all of the people in it. Go to Full Review Cassandro (2023) 91% 74%

Dan Callahan TheWrap Jan 20, 2023 The most serious flaw of “It’s Only Life After All” is that Bombach has us spend so much time with these women, yet we learn so little about them. Go to Full Review Indigo Girls: It's Only Life After All (2023) 93% - -

Dan Callahan TheWrap Jan 17, 2023 So padded out at 134 minutes with both rugby games and sex scenes that the final effect is numbing, and writer-director Matt Carter doesn’t bother much with either plot or character to fill out his narrative. Go to Full Review In from the Side (2022) 54% 89%

Dan Callahan TheWrap Jan 11, 2023 Guðmundsson shows us Addi embracing Konni and stroking his hair without a trace of self-consciousness. But where the film eventually goes with this strand of the narrative feels evasive and confusing, as if Guðmundsson doesn’t want to deal with it fully. Go to Full Review Beautiful Beings (2022) 83% - -

Dan Callahan TheWrap Dec 15, 2022 Marks the first narrative feature from director Colm Bairéad, who concentrates for long stretches on visual effects with light that soon start to feel repetitive and pictorial rather than illuminating of character or story. Go to Full Review The Quiet Girl (2022) 97% 93%

Dan Callahan TheWrap Dec 1, 2022 Offers touching father-son scenes predicated on forgiveness and love. Go to Full Review "Sr." (2022) 97% 25%

Dan Callahan TheWrap Nov 28, 2022 Many of the scenes here seem to have been shot in a spirit of tense desperation; the comedy doesn’t land, the romance takes too long to get going, and the tearjerking scenes are spoiled by a meta framework that makes Showalter’s job even more difficult. Go to Full Review Spoiler Alert (2022) 87% 97%

Dan Callahan TheWrap Nov 1, 2022 Parter's basic structure is fairly solid and his characters are well chosen, but all of his dialogue consists of the sort of hyperbolized declarations of plot exposition that only gets by on guilty-pleasure TV shows. Go to Full Review The Independent (2022) 35% 75%

Dan Callahan TheWrap Oct 10, 2022 There is a sense of celebration and discovery that lets us see a whole world of lesser-known films just waiting to be viewed, re-viewed and appreciated in new ways. Go to Full Review Is That Black Enough for You?!? (2022) 100% 61%

Dan Callahan TheWrap Sep 22, 2022 It leans far more towards one-dimensional inspiration than insight. Important questions are sometimes raised here by the interview subjects, but they are almost always evasively dropped. Go to Full Review Sidney (2022) 90% 83%

Dan Callahan TheWrap Sep 11, 2022 This film adaptation of the book retains the setting but filters everything through Dunham’s very narrow modern sensibility. The result is listless, plodding and self-congratulatory. Go to Full Review Catherine Called Birdy (2022) 89% 65%

Dan Callahan TheWrap Sep 8, 2022 Enters the dangerous realm of fantasy and wish-fulfillment, revealing that the makers of this film are as recklessly naïve and morally questionable as their protagonists. Go to Full Review Private Desert (2021) 91% 67%

Dan Callahan TheWrap Sep 7, 2022 Proves far too complicated to execute for director Tom George and writer Mark Chappell, who resort to clumsy flashbacks and pointless split-screen sequences without ever finding the right tone for their movie. Go to Full Review See How They Run (2022) 75% 69%

Dan Callahan TheWrap Sep 5, 2022 Has enough memorable images to make it an imperfect but haunting experience. Go to Full Review When the Waves Are Gone (2022) 89% - -

Dan Callahan TheWrap Sep 3, 2022 Pallaoro trusts that we can read between the lines and that Lysette can carry many silent scenes where Monica is existing in closed spaces and trying to find some kind of peace. Go to Full Review Monica (2022) 84% 97%

Dan Callahan TheWrap Sep 2, 2022 But filmmaking for Fassbinder was always a matter of life and death; there was a sense that he would kill himself to finish a movie. Ozon too often treats moviemaking like a hastily planned party he’s giving with a starry guest list. Go to Full Review Peter von Kant (2022) 75% 56%

Dan Callahan TheWrap Aug 2, 2022 What makes Logan’s writing so effective in “They/Them” is that he gives the villains such persuasive-sounding dialogue, which cannot easily be shrugged off. Go to Full Review They/Them (2022) 32% 25%

Dan Callahan TheWrap Jul 15, 2022 If only “Anything’s Possible” had been content to depict this relationship in all its newness onscreen without burdening these two appealing characters with a pile-on of issues more suited to a newspaper editorial than a narrative feature. Go to Full Review Anything's Possible (2022) 87% 59%