Previously housed at Atticus Review, Mortar Film is an ongoing collection of forward-thinking film criticism by young reviewers.

A Few Precious Hours

The Perfect Intimacy of Portrait of a Lady on Fire
By Alison Lanier

Goodbye to a Good Place

On the risks, rewards, and final unanswered question of The Good Place
By Olivia Funderburg and Allyson Larcom

All A Woman Is Fit For

On Little Women and Artistry
By Allyson Larcom

This Is Not a Place for a Love Story

A review of Queen & Slim
By Olivia Funderburg

Watchmen Leverages a Black Vigilante Against White Supremacy

A review of HBO’s Watchmen
By Olivia Funderburg

Earning the Love

A review of Jenny Slate’s Stage Fright
By Allyson Larcom

Marketing Women’s Desire

A review of Vita and Virginia
By Alison Lanier

The Honest Comedy of Women in Recovery

A look at THIS WAY UP and its place in the growing list of women-focused emotional comedies.
By Allyson Larcom

Ambitiously Edgy, Surface-Level Diversity

A review of HBO’s Euphoria
By Olivia Funderberg

Perfect Feel-Good Horror: A review of Midsommar By Emily Moeck

Hustlers Is For Women, By Women: a review by Olivia Funderberg

Is It Time To Give Up Tarantino?: a review by Emily Moeck

Celebrating the Moon Landing in 2019 America: a reflection by Alison Lanier

Rejecting the Story: A review of Leaving Neverland, By Alison Lanier

Activism in Action: A review of When They See Us, By Olivia Funderburg

The Beauty of the Obsolete: A review of Female Human by Charlie Nash

A Class Act in Telling Victims’ Stories: a review of At the Heart of Gold by Alison Lanier

On Telling Killers' Stories, By Alison Lanier

The High Life of Low Lifes: a review by Emily Moeck

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