His Blazing Automatics: The Cinematic Connection of Chan-wook Park’s ‘Oldboy’ and Kihachi Okamoto’s ‘The Sword of Doom’
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘Mamma Roma’ (Pier Paolo Pasolini, 1962)
“Pasolini suggests in ‘Mamma Roma’ that the spiritual beauty of humanity often emerges from vulgarity and contradiction.”
Gaslighting and Moral Blindness in Christian Petzold’s ‘Phoenix’
“Phoenix’s devastating final scene pretty much erases a need for the specifics of the moral blindness.”
His Blazing Automatics: What’s Going on at Blumhouse?
A Column by Dylan Moses Griffin
Film Beat: Cafe Scene from Jean-Luc Godard’s ‘Vivre sa vie’
“After my first viewing of ‘Vivre sa vie,’ I closed my laptop, went out and chopped my waist-length mane to a bob. Movies have always had that mysterious power of making me feel as if I have lived all the lives I see on-screen.”
Of Love and Other Demons: ‘Tabu’ (Miguel Gomes, 2012)
“The strength of ‘Tabu’ lies in how powerfully sex is captured, offering aural and visual textures that inspire sensorial memories.”
The Dueling Cavalier: ‘Magic Mike XXL’ is the Most Progressive Hollywood Movie in Ages (and It’s a Total Blast!)
A Column by Max Bledstein
Laughter in the Dark: John Cassavetes’ Comedies
Part 4 of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
We Failed This Film: David Fincher’s ‘Zodiac’
Part Two of a Series by Dylan Moses Griffin
How Louis Feuillade’s ‘Judex’ and Georges Franju’s Remake Created the Cinematic Language of the Caped Crusader
An Essay by Dylan Moses Griffin
Guns and Dreams in John Cassavetes’ Noirs
An Essay by Phuong Le
This House Is Not a Home: On John Cassavetes’ Troubled Families
An Essay by Phuong Le
Summer of Darkness: Fritz Lang’s ‘M’ (1931)
“It’s going to be a #NoirSummer, and hopefully some of the world’s filmmakers are paying attention to the simple yet effective methods of their predecessors.”
We Failed This Film: Andrew Dominik’s ‘The Assassination of Jesse James by the Coward Robert Ford’
We Failed This Film is a series about various films that simply didn’t get the love that they deserved upon initial release.
The Theater of Fear: John Cassavetes’ ‘Opening Night’
“Throughout ‘Opening Night,’ reality and make-believe are interwoven into a mass of chaos.”
Love in the Time of Cabiria
An Essay by Kyle Turner
New German Cinema: Rainer Werner Fassbinder’s ‘The Bitter Tears of Petra von Kant’
“An emotionally existential journey through the cycle of love, Fassbinder’s film conveys an incredible power for empathy, and a profound understanding of deeply human characters.”
Magical Mojo: Lee Toland Krieger’s ‘The Age of Adaline’
“Filled with sappy moments but fueled by Lively’s classical mojo, The Age of Adaline holds back just enough to capitalize on its magical realism.”
New German Cinema: Rainer Werner Fassbinder’s ‘Beware of a Holy Whore’
“While Beware of a Holy Whore symbolizes a voice for Fassbinder’s many criticisms of the filmmaking process, he uses aspects of the film to parody his own life and dispositions.”
New German Cinema: Rainer Werner Fassbinder’s ‘The American Soldier’
“A surrealist bookend to his unofficial gangster trilogy, The American Soldier finds R.W. Fassbinder not only at peace with his version of cinematic grace but more cynically-minded than ever.”