Once Upon a Time in Tarantinoland: ‘Inglourious Basterds’ Deftly Blends Suspense and Black Comedy
“‘Inglourious Basterds’ is a study in suspense.”
Once Upon a Time in Tarantinoland: ‘Death Proof’ Is a Fun Grindhouse Detour But a Lesser Tarantino Film
“‘Death Proof’ is too singularly grindhouse, but it works as a fun, trashy flick, and a cool female empowerment story.”
Looking Forward While Looking Back: The Recent Films of Francis Ford Coppola
“Coppola’s recent work is not a ‘return to form,’ whatever that means, but rather part of an ongoing exploration of what the form can do, showing an artist increasingly interested in only trying things he hasn’t done before.”
Once Upon a Time in Tarantinoland: ‘Kill Bill’ Is a Visually Explosive Love Letter to Cinema
“All in all, ‘the 4th film by Quentin Tarantino’ is a wild, eclectic action movie with visual flair, great performances and personality up the wazoo.”
It’s Cool to Be Kind: ‘Mean Girls’ at 15
“‘Mean Girls’ might be a teenager itself now, but the movie’s popularity continues to grow as a whole new generation falls in love with its cast of crazy characters, messages of inclusion and impressively high joke rate.”
Review: Jonas Åkerlund’s ‘Lords of Chaos’
“‘Lords of Chaos’ is a nasty little treat: involving, fascinating and often shocking.”
Sweet, Satisfying and Sex-Positive: ‘Zack and Miri Make a Porno’ at 10
“‘Zack and Miri Make a Porno’ is a lot like a modern ‘When Harry Met Sally,’ for broke 30-somethings rather than wealthy, super-hot business types.”
Review: Joseph Kahn’s ‘Bodied’
“‘Bodied’ is a blisteringly urgent and inescapably topical meditation on race, class and identity; the kind of movie that could only be told with the panache and in-your-face directness of Kahn.”
Casting a Spell for Peace: On ‘Arrival,’ Max Richter and Our Unending Need for Violence
“It’s in Louise’s absolute refusal to allow our barbaric side to win that ‘Arrival’ shows its moral core.”
Case for Criterion: William Friedkin’s ‘Bug’
“‘Bug’ closes in on you in a curiously suffocating way. It’s disorienting in the best way possible.”
Case for Criterion: Tomas Alfredson’s ‘Let the Right One In’
“The horror reads as a treatise against a dominant culture that upholds rather old-fashioned ideas of gender…”
Case for Criterion: Marc Forster’s ‘Stranger Than Fiction’
“The complexities of ‘Stranger Than Fiction’ are worthy of their own analysis, but the film’s simplicities and stark honesty about emotion are its strengths.”