In the Shadow of Women: On the Farrelly Brothers’ ‘There’s Something About Mary’
“What begins as a seemingly lightweight romantic comedy gradually expands into a surprisingly sophisticated exploration of romantic obsession and self-delusion.”
“What begins as a seemingly lightweight romantic comedy gradually expands into a surprisingly sophisticated exploration of romantic obsession and self-delusion.”
“In both ‘T-Men’ and ‘Raw Deal,’ Alton and Mann take what is already a heightened genre and somehow intensify its formal qualities.”
“Now free to travel, these films now face the trouble of traveling well.”
“Heavy-handed “meta” moments make the allusions worthless, and superhero films will keep hitting a glass ceiling until they can start creating their own cinematic mythology.”
“The harsh dialogue may not connect, but the visuals most certainly will.”
“When we watch the films, we can be Larry — agonising over ‘feeling the question’ — or we can be Sussman, content not to know but still enjoying the experience.”
“I can’t make any grand pronouncements or bold proclamations, except that I need to either learn to read program descriptions more critically or invest in a plane ticket to Montreal next July.”
“Between ‘Elizabethtown,’ ‘Marie Antoinette’ and ‘Spider-Man 3,’ Dunst’s life and art begin to imitate each other.”
“The genius of ‘It Comes at Night’ is that its monsters are, for the most part, human.”
“The moments of realization transcend the typical viewing experience.”
“It’s done critically, sympathetically and with a demand from the viewer to take responsibility for their role in the story, too.”
“Fellini’s films often flourished with acute ruminations on life and society, but rarely would his work achieve this degree of pure emotion.”
“‘Stalker’ is less concerned about the actual plight of these men and more about the philosophical questions their journey brings to the forefront.”
“His filmography is framed nostalgia. It’s a journey to the past and an ode to the imagination.”
“Dunst’s roles from 1998 to 2002 illustrate her need to conform to studio standards of femininity, balanced with her own personal desire to stretch her wings as a performer.”
“Either you love the squeaky rollercoaster or you’ve got no time for the squeaky rollercoaster. Welcome to the carnival.”
“Nothing in ‘Le Bonheur’ produces lasting unhappiness, and to approach it in a spirit of contemplation, rather than one of judgment, may allow the movie its most favorable terms of engagement.”
“The filmmaker continues to dream of the painter’s Arcadia, however illusory it may be.”
“With ‘Baby Driver,’ Wright delivers a delightful, mid-summer cinematic treat.”
“The female gaze, when expanded and reproduced through various media, can be a significant tool of empowerment for exploring and blending different artistic themes and forms.”