Ever since Ryusuke Hamaguchi’s luxuriantly lengthy “Drive My Car” waited until after a 40-minute prologue to announce itself on screen, the late title-card drop has become a mark of the sophisticated, cine-literate art film that works to its own schedule and rulebook. But Isabel Sandoval‘s new film “Moonglow” may be going for a new record, at least proportionally. The title floods the screen, in lavishly flowing script, a whopping 49 minutes into this 108-minute neo-noir, not far off the halfway mark. Such an affectation can signal a structural pivot or tonal shift, though in Sandoval’s film, it rather underlines what audiences may already be feeling: With nearly an hour
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