#Noirvember: Joseph H. Lewis’ ‘Gun Crazy’ and the Erotic Allure of Firearms
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
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Two Blistering Performances Help ‘James White’ Achieve Greatness
“In a way, James White is like a dark riff on the man-child formula, but it also works as a devastating exploration of death and decay.”
His Blazing Automatics: Jeff Nichols’ ‘Midnight Special’ and the Middle-Class Studio Film
“If Midnight Special does well in March, the film will undoubtedly encourage an environment in which middle-class studio releases aren’t such a rarity, because the film world needs more working class heroes like Jeff Nichols.”
#Noirvember: Howard Hawks’ ‘The Big Sleep’ (1946) Neuters Marlowe’s Hatred
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
RIDM 2015: ‘Red Hollywood’ (1996) – Another Masterwork From Thom Andersen
“Currently being honoured with a retrospective at the RIDM, Andersen’s cool and measured voice emerges as a through-line in his career.”
With ‘Carol,’ Todd Haynes Conveys Love Like Few Other Filmmakers
“As premature as it might be to say in a review for an initial theatrical run, Carol more than earns the right of comparison to Brief Encounter in terms of quality. Frankly, it’s one of the new great romantic films.”
Tragic Simplicity: Alfred Hitchcock’s ‘The Wrong Man’
“The Wrong Man is, perhaps, Hitchcock’s most authentic film.”
We Failed This Film: Sean Byrne’s ‘The Loved Ones’
A Column by Dylan Moses Griffin
#Noirvember: ‘The Dark Mirror’ and the Paranoid Double (Robert Siodmak, 1946)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Justin Kurzel’s ‘Macbeth’ Is a Solid Enough Take on ‘The Scottish Play’
“Like its eponymous character, Justin Kurzel’s adaptation of Macbeth is a film pulled in myriad directions for a sense of purpose.”