Exposition Is Coming: Game of Thrones ‘The Red Woman’ (Recap)
“There’s a lot of expository detail, and little development in the singular arcs beyond the exposition.”
Guadalajara Film Festival 2016: Interview with Felipe Guerrero on ‘Oscuro Animal’
Nathalie Codina Interviews Felipe Guerrero
Tribeca Viewpoints: José Villalobos’ ‘The Charro of Toluquilla’
“‘The Charro of Toluquilla’ is definitely worth seeing, as Jaime is a character that you will not soon forget.”
We Failed This Film: David Lowery’s ‘Ain’t Them Bodies Saints’ (2013)
A Series by Dylan Moses Griffin
Of Love and Other Demons: ‘In a Year with 13 Moons’ (R.W. Fassbinder, 1978)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Terrence Malick’s ‘Badlands’ Is a Great American Love Story
“Some movies are so good that when they’re over, you almost expect the whole film industry to shut down.”
Review: Jon Favreau’s ‘The Jungle Book’
“The Jungle Book is a fun, brisk and absolutely gorgeous achievement that honors the past while looking unflinchingly into the future.”
Why Criticism?
A Column on Film Criticism by Justine A. Smith
Ebertfest 2016: Sound Some Opinions
Jacob Oller on His First Ebertfest
Kinoteka Polish Film Festival: Rediscovering ‘The Secret Garden’
Josh Slater-Williams on the Nostalgic Element of Agnieszka Holland’s 1993 Film
Dudley’s World: The Painstaking Anxiety of Henri-Georges Clouzot’s ‘The Wages of Fear’
A Column by Jordan Brooks
Review: Ariel Vromen’s ‘Criminal’
“Regretfully, ‘Criminal’ makes up for its lack of ideas with blood, guts and even more blood.”
Recap: Girls ‘Love Stories’ and ‘I Love You Baby’
“Season 5 of HBO’s ‘Girls’ is now done, and so it is time to bestow upon it ‘one of the all-time best seasons of TV’ accolades.”
Recap: Vinyl ‘Alibi’
“Vinyl’s sense of music history is surface-level and haphazard, and, most damning, it has yet to fully reveal why it needs to exist (over the course of 11 entire hours).”
The Feminine Grotesque #8: Kingdom of Rot – On ‘Queen of Earth’
A Series by Angelica Jade Bastién
His Blazing Automatics: Does ‘Hardcore Henry’ Revolutionize the Cinematic Action Hero?
A Column on Action Films by Dylan Moses Griffin
Of Love and Other Demons: ‘The Bitter Tears of Petra von Kant’ (R.W. Fassbinder, 1972)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Review: Gabriel Mascaro’s ‘Neon Bull’
“Humans and beasts share a primal bond as they occupy the land and the frame together. Mascaro thus internationalizes a strain of the French cinéma du corps as he weds it with the emerging art-house aesthetic of digital realism, crossing borders and species to create something extraordinary.”
Review: Marc Abraham’s ‘I Saw the Light’
“Abraham tells a tragic story but fails to shine a light on the genesis of Hank the man.”
When Magic Was Real: Jean Cocteau’s ‘Beauty and the Beast’
“Cocteau’s magical realism, with flight and cursed beasts side-by-side with the economic woes of an importer-exporter, gives his fantastic elements gravity while letting the humanist tale of greed lilt like music.”