Ridley Scott’s ‘Alien: Covenant’: Another Look at the Power of Creation and Destruction
“The stories and conflicts of Scott’s android characters cause viewers to contemplate a number of issues relevant to the human condition.”
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Peter Bell
Peter Bell is a recent graduate of Columbia University, School of Arts, New York, NY with a Master of Arts in Film Studies. Peter’s interests in film include film history, film theory and film criticism. Ever since watching TCM as a child, Peter has always had a passion for film and is always trying to add greater context to film for others. His favorite films include Chinatown, Blade Runner, Lawrence of Arabia, A Shot in the Dark, and Inception. Peter’s favorite director is Christopher Nolan, whom he had the pleasure of seeing speak in 2015 at the Tribecca Film Festival. Past film experience includes a documentary research internship with Pierpoline Films and volunteering for ReelAbilities Film Festival. Peter believes movie theaters are still the optimal forum for film discussion and discovering fresh perspectives on culture. Peter’s hobbies include soccer, watching “Mystery Science Theater 3000” and reading 80’s and Golden age comic books.
The Absurdity of Our World: Tom Ford’s ‘Nocturnal Animals’
“With great color, style and technique, Ford haunts the audience with the disappointments of our absurd world.”
Sheer Heart Attack: Edgar Wright’s ‘Baby Driver’
“With ‘Baby Driver,’ Wright delivers a delightful, mid-summer cinematic treat.”
There’s Something Inside You: Nicolas Winding Refn’s ‘Drive’
“It’s the subliminal drive toward the realization of his ideal self that evokes his potential.”
Cyberflunk 2017: Rupert Sanders’ ‘Ghost in the Shell’
“One of the hallmarks of good cyberpunk is the exploration of humanity in a post-modern world where technology is the dominant force. This philosophical probe falls short in Rupert Sanders’ ‘Ghost in the Shell.'”
Technological Tease: Virtual Reality
“I foresee that VR will eventually become a key asset of filmmaking, putting itself right alongside sound, color, digital and CGI as an essential staple of the industry.”
Redemptive Criminality in David Mackenzie’s ‘Hell or High Water’
“The grey hue of ‘Hell or High Water’ becomes more distinguishable when juxtaposed to films with plots that are more clearly black or white.”