Of Love and Other Demons: A Lesbian Vampire in ‘Daughters of Darkness’ (Harry Kümel, 1971)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
His Blazing Automatics: The Unrelenting Horror of David Robert Mitchell’s ‘It Follows’
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘The Rocky Horror Picture Show’ (Jim Sharman, 1975)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
We Failed This Film: Ryan Gosling’s ‘Lost River’
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘Blood for Dracula’ (Paul Morrissey, 1974)
“‘Blood for Dracula’ is confusing thematically, but I think that’s part of the point. As pulpy as it is, Morrissey’s film strongly confronts and challenges our ideas of purity and gender.”
‘The Martian’ Is a Surprisingly Light-Hearted Success for Ridley Scott
“As a piece of sweeping populist entertainment, The Martian is a great success, despite a couple of issues that perturb throughout.”
The Dueling Cavalier: Gravity of Violence in ‘Sicario’
A Column by Max Bledstein
His Blazing Automatics: Ramin Bahrani’s ‘Chop Shop’ and the New Americana Film Movement
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘Smooth Talk’ (Joyce Chopra, 1985)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
We Failed This Film: Scott Cooper’s ‘Out of the Furnace’
A Series by Dylan Moses Griffin
Of Love and Other Demons: ‘Bullhead’ (Michaël R. Roskam, 2011)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
His Blazing Automatics: The Theme Park Ride Exhilaration of Marcus Dunstan’s ‘The Collector’ and ‘The Collection’
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘Cat People’ (Jacques Tourneur, 1942)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
The Dueling Cavalier: The Challenge of Representing Creative Genius in ‘The End of the Tour’ and ‘Whiplash’
A Column by Max Bledstein
Alison Brie Shines in ‘Sleeping with Other People’
“Headland’s screenplay fires a couple of blanks, which serves to only highlight some of the more token traditional rom-com tropes still on offer here. That said, when Sleeping with Other People does hit — which is a lot of the time — it’s an invigorating spicing up of formula; a winning balance of hedonism and heart that’s unapologetic about either quality.”
SANFIC 11: Tired Immigrants and Tired Violence – Jacques Audiard’s ‘Dheepan’
Jaime Grijalba on Santiago Festival Internacional de Cine
His Blazing Automatics: You and Me and the Devil Makes Three – The Religious Allegory of Craig Zobel’s ‘Z for Zachariah’
A Weekly Column by Dylan Moses Griffin
We Failed This Film: Matt Reeves’ ‘Let Me In’
A Series by Dylan Moses Griffin
The Dueling Cavalier: Contrasting Effectiveness of the Long Take in ‘The Tribe’ and ‘Birdman’
A Column by Max Bledstein
Of Love and Other Demons: Ideal Love in Cinema
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith