“‘Superbad’ has stood the test of time, and will continue to do so, because there are so few movies that tackle male friendships in such a brutally honest manner, with care and attention, and without falling back on sarcasm once all is said and done.”
“If ‘The Angelic Conversation’ portrays a time where loving affection could be found amongst the rubble of industrialization, then ‘The Last of England’ shows how affection, love and hope are lost qualities of a paradisal past.”
“Given Araya’s small-scale origins in a country without a major film industry, it remains a fascinating testament to both the lives of the peninsula’s inhabitants and the film’s own creation.”
Visions of the Future from 1995: Touching with Synthetic Hands by D.M. Palmer: “These films posited that to dream in public, to build new worlds on this freshly privatized terrain, was to risk new and previously inconceivable forms of personal ruin.”
“The capacity to dehumanize has always been present in cinema; to witness the vanquishing of enemies on the screen has served a cathartic function for every society in which cinema has taken hold.”
“Do some films get ignored because they are unavailable or do they get ignored because they aren’t that good to begin with? This is precisely where I stand with ‘Tony Arzenta.'”
“‘You Are Not My Mother’ lives at the fringes of folk horror, but the underlying family melodrama drives a story more interested in generational trauma than a supernatural fairytale.”
“9/11 was a psychic wound that fostered a new relation to the world, and those who grew up in its aftermath struggled to digest its lessons; some fell back onto intransigence, while others internalized the damage.”
“Come for Lynch and stay for the feverish celluloid love lessons that reach far beyond DKL’s oeuvre. ‘Lynch/Oz’ weaves together dozens of movies in an intertextual kaleidoscope.”