“For Paul Schrader, First Reformed’s visual style realizes ideas of transcendental style that he first theorized at the beginning of his career. But that style only works because it serves the story and character he crafted so carefully.”
“‘BlacKkKlansman,’ fairly or not, will be judged as Lee’s ‘comeback’ movie. He never really left, of course.”
“‘The Blue Gardenia’ occupies a curious space inside noir. In many ways, it acts as an indirect response to many of the films that preceded it, with their icy femmes fatales…”
“As a largely disregarded noir B-side, ‘Pushover’ deliberately recalls its more famous predecessor, playing upon audience expectations of MacMurray’s screen persona to create an experience of déjà vu.”
“Blowback occurs when policymakers fail to take into account the far-reaching ramifications of their actions.”
“‘Red Sparrow’ is no feminist masterwork — far from it. However, in its depiction of a male world full of predators — a patriarchal system constructed to oppress, exploit and then discard women — perhaps it offers a valuable first step towards that badly needed change.”
“Above all, Argento is a visual and aural stylist, and the style that would carry him into his later films deepens here, with flourishes of freewheeling experimentation.”
“In between Ford’s wide shots and Scorsese’s close-ups, there is an effort by each filmmaker to make faith real.”
“As ‘Blade Runner 2049’ suggests, perhaps the way forward into a future of possibility is through a deeper investigation of the past’s secrets.”
“Lang’s film becomes a committed act of social justice advocacy, raging against its enforced limitation, and striving to break the formal apparatus that could often be employed to constrain Classic Hollywood cinema.”
