Why Criticism: Richard Dyer’s ‘White’ and Writing About Race
A Column on Film Criticism by Justine A. Smith
At the Cinémathèque: L’ange et la femme (Gilles Carle, 1977)
“A deeply affecting and personal vision, it’s an essential entry in the history of eroticism in Canadian cinema.”
Of Love and Other Demons: ‘The Devil Is a Woman’ (Josef von Sternberg, 1935)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: Thom Andersen and the Critic as a Worker
A Weekly Column on Film Criticism by Justine A. Smith
Two Drink Minimum: Humor and the Influences of ‘Kubo and the Two Strings’
“As reference humor and pop song needle drops become ironic jokes in and of themselves, stories like Kubo will outlive them all by having just a bit of substance behind the gags.”
Girls, Boys and Technology
“‘The Social Network’ is a history lesson, but ‘Easy A’ remains coldly ensconced in the here and now.”
At the Cinémathèque: ‘The Pillow Book’ (Peter Greenaway, 1996)
“As formally challenging as ‘The Pillow Book’ may be, it romantically creates a love affair unbound by its physical limits, connecting it to past and present through art and literature.”
Of Love and Other Demons: ‘Blonde Venus’ (Josef von Sternberg, 1932)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Joel Potrykus and Slacker Cinema
“Joel Potrykus has emerged as one of Michigan’s brightest sons.”
Why Criticism: We Need to Talk About Short Films
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: Greg Tiernan and Conrad Vernon’s ‘Sausage Party’
“In many ways, it’s like watching the Olympics. You may not understand every event or even grasp the differences between the best in the world or last place, but you respect the talent behind it.”
Of Love and Other Demons: ‘Underworld’ (Josef von Sternberg, 1927)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: So, You’re Covering a Film Festival?
A Column on Film Criticism by Justine A. Smith
Studio Ghibli Forever: An Initiation – ‘The Tale of the Princess Kaguya’
“As in many Studio Ghibli films before it, the male director is speaking directly to his male audience, pleading with them to treat the women in their lives with the respect and equality they deserve.”
A Trip to the Sensory Deprivation Tank: Comparing ‘Fringe’ and ‘Stranger Things’
“Perhaps, in an alternate-parallel-upside-down universe somewhere, Fringe was a massive sensation on Netflix or Amazon Prime.”
‘Modern Times’: Charlie Chaplin Finds Freedom in the Age of Industry
“‘Modern Times’ is emblematic of a ‘Hollywood realism,’ with a rather immaculate industrial setting, strategically tattered clothing and deliberately designed destitution.”
John Huston’s Legacy and ‘The Dead’ (1987)
John Huston’s talent was in the insinuation of the unseen environment lying beyond closed doors. Even in lesser films, like Key Largo, one can feel the cruel and merciless outdoor fighting beyond the set. Our comfort in life is temporary — an endless guerilla battle where humanity has been pitted against […]
Punk Celebrates Its 40th Birthday with a Night at the Movies
“Relying heavily on the sheer talent of its leading performers, and the loud boisterousness of the music that defined an era, Alex Cox’s ode to punk is pure Anarchy in the UK.”
What Has Been Seen Cannot Be Unseen: Kiyoshi Kurosawa’s ‘Pulse’
“The internet is nor symptom nor cure; it simply exists as another conduit for the best and worst habits we have.”
Of Love and Other Demons: ‘The Docks of New York’ (Josef von Sternberg, 1928)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
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