Why Criticism: Nichols / Soderbergh
“In their conversations, Soderbergh and Nichols work together to dismantle the artificial dividing line between art and criticism, neatly moving between the two…”
Why Criticism: Brian De Palma and Film as Film Criticism
“If the point of criticism is to bring the reader closer to the artwork, then Schrader’s reviews of other films are as important as his own to understanding his perspective.”
Why Criticism: Not Quite the Apocalypse
“In Australia, our cinematic art has been trying to shake us from apathy for 50 years.”
Why Criticism: The Race to Problematize Bittersweet Horror Endings
“In order to fully engage with horror films, it’s important to look at the monster and the world that’s being upended by that monster.”
Why Criticism: Mediocrity as a Catalyst at Berlinale 2020
“We are all mediocre writers when we start, and we must engage with others’ mediocrity throughout our careers. But we must engage with it level-headedly, picking out the good from the bad and making those distinctions to the best of our ability.”
Why Criticism: Berlinale 2020 and the Power of Sound
Swedish Film Critic Jakob Åsell on the Sounds of Berlinale 2020
Why Criticism: The One-Inch Tall Barrier of Foreign Cinema
“Tucked in our so-called privileged positions, we need to not only hold tight but also need to learn when to engage and when to let things go.”
Why Criticism: Time After Time, Linklater and Lucas
“In an era where cinephilia is always about performance, both online and in real life, woke buffs feel compelled to assemble their character like in a video game…”
Why Criticism: You Can’t Take the “Film” Out of Film Criticism
“Over time, a film critic should be able to engage with cinema in an all-encompassing manner, acknowledging the interior and exterior forces of what makes a movie…”
Why Criticism: Adam Nayman’s ‘Ben Wheatley: Confusion and Carnage’
A Column on Film Criticism by Justine A. Smith