‘It Comes at Night’ and the Trouble with Horror Movies That Don’t Fit Into a Genre-Specific Box
“The genius of ‘It Comes at Night’ is that its monsters are, for the most part, human.”
Not Your Trophy: Deer Imagery in Jordan Peele’s ‘Get Out’
“‘Get Out’ explores many notions: the duplicitous nature of liberal racism, the cumulative damage of microaggressions and appropriation, assimilation versus acculturation. But it’s the deer imagery that continue to elude audiences.”
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.”
‘Arrival’ and the Perils of Science Fiction
“What is awkward about these ‘Arrival’ reviews is how they oppose the film’s best qualities to its generic roots.”
Of Love and Other Demons: ‘Someone’s Watching Me!’ (John Carpenter, 1978)
“Carpenter doesn’t frame the film as being about an outlier male abuser, but a culture that has little respect for a woman’s personal space.”
Of Love and Other Demons: ‘American Gigolo’ (Paul Schrader, 1980)
“‘American Gigolo’ doesn’t necessarily work as a neo-noir, but it still has enough romance and intrigue to be well worth watching.”
The Uneasy Allegiances of Nicholas Ray’s ‘In a Lonely Place’
“‘In a Lonely Place’ finds Nicholas Ray still the relative newcomer to the Hollywood studio scene, yet he is already displaying subversive evidence of instilling in his work representative preoccupations.”
Chasing Chabrol: ‘La cérémonie’
“If you have an ounce of capitalist discomfort, ‘La cérémonie’ will surely begin to boil your blood, and that’s where things get interesting.”
Chasing Chabrol: ‘Les bonnes femmes’
“‘Les bonnes femmes’ pushes the boundaries of expectations, leaving the audience in a place of vulnerability.”
Review: Riley Stearns’ ‘Faults’
“Surprisingly, director Stearns spends little time navigating the physical world of ‘Faults’; he takes a minimalist approach and produces a game of psychological chess.”
The Moreau Files: ‘The Bride Wore Black’
“‘The Bride Wore Black’ has a rather deft sense of humor that raises it above many of the other brightly-lit neo-noirs of the 1960s.”
Fargo Film Festival Review: Aaron and Austin Keeling’s ‘The House on Pine Street’
“Incredibly polished and finely acted, ‘The House on Pine Street’ will surely become a hit on the film festival circuit.”
Review: Josephine Decker’s ‘Thou Wast Mild and Lovely’
“With such a powerful concoction of unconventional narrative techniques, ‘Thou Wast Mild and Lovely’ dares the viewer to touch the flame; a 95 minute summer poem of suppressed emotions and blistering paranoia.”