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.”
Vague Visages Is FilmStruck: Jeremy Carr on Anthony Mann’s ‘T-Men’ and ‘Raw Deal’
“In both ‘T-Men’ and ‘Raw Deal,’ Alton and Mann take what is already a heightened genre and somehow intensify its formal qualities.”
Hidden Gems of Soviet Cinema: On Sergei Loznitsa’s IDFA Top 10
“Now free to travel, these films now face the trouble of traveling well.”
More Than Mythology: Overt Quotation in James Mangold’s ‘Logan’
“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.”
Hopes and Fears in Helsinki: Pirjo Honkasalo’s ‘Concrete Night’
“The harsh dialogue may not connect, but the visuals most certainly will.”
‘A Serious Man,’ the Goy’s Teeth and the Coenesque
“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.”
Fantasia Film Festival 2017 Wrap-Up: My Festival vs. Your Festival
“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.”
My Summer of Kirsten Dunst: Volume 3
“Between ‘Elizabethtown,’ ‘Marie Antoinette’ and ‘Spider-Man 3,’ Dunst’s life and art begin to imitate each other.”
‘It Comes at Night’ and the Trouble with Horror Movies That Don’t Fit Into a Genre-Specific Box
“The genius of ‘It Comes at Night’ is that its monsters are, for the most part, human.”
Vague Visages Is FilmStruck: Q.V. Hough on Federico Fellini’s ‘8 1/2′
“The moments of realization transcend the typical viewing experience.”
A Musical Necropic: Todd Haynes’ ‘Superstar: The Karen Carpenter Story’
“It’s done critically, sympathetically and with a demand from the viewer to take responsibility for their role in the story, too.”
Vague Visages Is FilmStruck: Jeremy Carr on Federico Fellini’s ‘La Strada’
“Fellini’s films often flourished with acute ruminations on life and society, but rarely would his work achieve this degree of pure emotion.”
Uncovering the Mysteries of Andrei Tarkovsky’s ‘Stalker’
“‘Stalker’ is less concerned about the actual plight of these men and more about the philosophical questions their journey brings to the forefront.”
Once Upon a Time… Victor Erice
“His filmography is framed nostalgia. It’s a journey to the past and an ode to the imagination.”
My Summer of Kirsten Dunst: Volume 2
“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.”
Instant Cult Classic: Gary Michael Schultz’s ‘Vincent N Roxxy’
“Either you love the squeaky rollercoaster or you’ve got no time for the squeaky rollercoaster. Welcome to the carnival.”
The Cold Light of Day: On Agnès Varda’s ‘Le Bonheur’
“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.”
A Light of Pure Gold: The Ideal of the Painter in Old Hollywood’s Waning Days
“The filmmaker continues to dream of the painter’s Arcadia, however illusory it may be.”
Sheer Heart Attack: Edgar Wright’s ‘Baby Driver’
“With ‘Baby Driver,’ Wright delivers a delightful, mid-summer cinematic treat.”
‘Beyond the Lights’ and ‘Into the Forest’: Nina Simone as a Tool for Female Empowerment
“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.”