Interview With Director Don Coscarelli, Author of ‘True Indie: Life and Death in Filmmaking’
Zach Vasquez Interviews Filmmaker Don Coscarelli
Survivor’s Guilt: The Continuity of ‘Halloween H20: 20 Years Later’
“Regardless of how one chooses to view it, H20’s legacy will always have Laurie/Keri’s character and Curtis’ performance in its favor.”
Lights, Dance, Death: Body Movements and Color in Dario Argento’s ‘Suspiria’
“Dario Argento’s ‘Suspiria’ contorts the abjection of horror through a kaleidoscope of popping color.”
Pod Nation: The Endurance of ‘Invasion of the Body Snatchers’
“Ultimately, the endurance of Finney’s story and the concept of ‘pod people’ can be attributed to the fact that it’s not a metaphor for any one fear, but rather dozens.”
In Real Life: ‘Slender Man’ and the Clash of Media
“Just as the internet unleashed the Slenderman, it is culpable in bringing forth another seductive monster who uses this technology to warp minds and sow division…”
Album Review: Street Sects ‘The Kicking Mule’
“Street Sects is the kind of band that a lot of people would call ‘problematic,’ but they’re a much-needed smack in the face in a world that seems less compassionate with each passing day.”
Album Review: Ty Segall ‘Fudge Sandwich’
“‘Fudge Sandwich’ is the kind of album that provides listeners with a new favorite track every day, no small feat for a collection of cover tunes.”
London Film Festival 2018 Review: Carlos Vermut’s ‘Quién te cantará’
“‘Quién te cantará’ is a cold, mournful study of mothers and daughters living despite each other, filtered through a mystery with a popstar shaped hole at its centre.”
London Film Festival 2018 Review: Ben Wheatley’s ‘Happy New Year, Colin Burstead’
“This film will undoubtedly become a key text for critical essays and university studies on post-referendum British cinema…”
Brooklyn Horror Film Festival Review: Daniel Goldhaber and Isa Mazzei’s ‘Cam’
“‘Cam’ is an uncomfortable watch, despite its absolutely dazzling visuals and outstanding production design.”
Keep On Keepin’ On: Review — David Lowery’s ‘The Old Man & the Gun’
“Few actors are truly cross-generational in the manner media outlets make them out to be. Robert Redford, however, has earned this distinction.”
London Film Festival 2018 Review: Luca Guadagnino’s ‘Suspiria’
“A swirling, tumbling vision of Cold War paranoia and coven politics, ‘Suspiria’ will both astound and baffle; the conflict that defines its muted streets, full of uneasy dreams and restless feet, will come to bear on its audience and their nightmares.”
In the Shadow of ‘The Hairy Bird’
“Given what we now know about Weinstein’s welding of harassment, assault and power to control the women in his professional orbit, it’s uncanny that a seemingly frivolous film about a girls boarding school could share such parallels with the #MeToo movement.”
‘First Man’: Damien Chazelle and Ryan Gosling Take a Moonwalk
“‘First Man’ expresses no interest in probing the complexities of space race mythologizing…”
NYFF 2018 Review: Claire Denis’ ‘High Life’
“Denis’ approach resembles that of Pattinson’s performance: pointedly pared down to the bare minimum without fully untethering from recognizable humanity.”
How to Lose Control: Understanding Children and Insecurity with ‘The New Man’
Ella Kemp Interviews ‘The New Man’ Filmmakers/Subjects Devorah Baum and Josh Appignanesi
Brooklyn Horror Film Festival Review: Veronica Kedar’s ‘Family’
“‘Family’ is a gorgeous looking film with framing and editing that is often exquisite. It boasts a palette of rich earth tones and vivid dark colors that are beautiful but oppressive, much like the film itself.”
The Moon and the Kitchen: An Interview with ‘First Man’ Editor Tom Cross
Marshall Shaffer Interviews Film Editor Tom Cross
Looking Back at Steven Soderbergh’s ‘sex, lies, and videotape’
“Despite its salacious subject matter — sexuality, infidelity and voyeurism — the movie contains shockingly few sex scenes, but still remains erotically charged nearly 30 years later.”
Empathy Through Voyeurism: ‘Bad Times at the El Royale’ Review
“Goddard delineates his film from its influences by focusing almost exclusively on character. Rather than a story filled with twists and turns and manipulation of the audience, ‘Bad Times at the El Royale’ presents each character’s story as a solo vignette, before tying it into the overarching drama.”