Why Criticism: Writing Prompts and Fiction
A Column on Film Criticism by Justine A. Smith
Review: Susanna White’s ‘Our Kind of Traitor’
“A solidly constructed sophomore feature from director Susanna White, ‘Our Kind of Traitor’ is a tight thriller that, while rarely excelling to any sort of transcendent heights, never really steps a foot wrong.”
Two Drink Minimum: ‘Ali Wong: Baby Cobra’ (Netflix)
“Never preachy, Wong finds lots to love in her overwhelming honesty.”
Capitolo 20: Mani in Alto / Marco Bellocchio’s ‘Fists in the Pocket’
A Series on Italian Cinema by Q.V. Hough
The Unburnt: Game of Thrones ‘Book of the Stranger’ (Recap)
“And just like that, things are looking up for Season Six.”
We Failed This Film: Bong Joon-ho’s ‘Snowpiercer’ (2013)
A Series by Dylan Moses Griffin
Of Love and Other Demons: ‘Opening Night’ (John Cassavetes, 1977)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Review: Jean-Marc Vallée’s ‘Demolition’
“Neatly tied resolutions and dime-a-dozen aphorisms feel as fleeting and immaterial as a television drama, while any lasting impression must be hard-fought and pried from between the lines of the script.”
Is Michael Mann’s Horror ‘The Keep’ a Hidden Gem? Well…
“Really, the main worth of The Keep is as a curiosity; to see a significantly different career path that Mann could have taken had this film had any sort of positive impact on pop culture.”
Review: Jason Bateman’s ‘The Family Fang’
“Bateman brings the full force of his directorial ability to the film, finding beauty in every camera placement and character movement.”
Why Criticism: The Deception of Plain Style
A Column on Film Criticism by Justine A. Smith
Post-Resurrection: Game of Thrones ‘Oathbreaker’ (Recap)
“Will the execution weigh on Jon as he experiences life beyond the Night’s Watch?”
We Failed This Film: Pete Travis and Alex Garland’s ‘Dredd’ (2012)
A Series by Dylan Moses Griffin
IndieLisboa 2016 Review: José Barahona’s ‘I Was in Lisbon and Remembered You’
“Sometimes the most difficult kind of review to write is one for a film that’s full of good intentions; a film that’s never outright hateful or anything like that, but lacking or floundering when it comes to certain decisions at a script or direction level.”
Of Love and Other Demons: ‘Love Streams’ (John Cassavetes, 1984)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Review: László Nemes’ ‘Son of Saul’
“Grappling with themes of self-preservation and mental stability amongst abject barbarity, ‘Son of Saul’ packs an emotional punch all its own, while seeking to convey the essence of an individual living in abhorrent chaos.”
Why Criticism: Andrew Sarris vs. Pauline Kael
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: ‘Hannibal Takes Edinburgh’ (Netflix)
“Hitting the cerebrally relatable and the absurdly goofy, Buress provides an allegory for the American worker: even if your daily grind is performing stand-up, taking pleasure in your work is the only way to stay sane.”
Rebirth: Game of Thrones ‘Home’ (Recap)
“As good as Game of Thrones can be at revealing shades of grey in ostensibly irredeemable characters, the show is equally adept (if not more so) at making its villains as detestable as can be.”
Capitolo 20: Mi Fido Di Te / Ermanno Olmi’s ‘I fidanzati’
A Series on Italian Cinema by Q.V. Hough