The Sensual Delights of Michael Cristofer’s ‘Original Sin’
“‘Original Sin’ is an unabashedly horny movie, and Cristofer isn’t shy about showing off either of his gorgeous stars.”
A Quest for Happiness: On Neil Jordan’s ‘Mona Lisa’
“‘Mona Lisa’ was ahead of its time, a precursor of urban fairy tales in late 90s British cinema.”
The Endless Yearning in Mani Kaul’s ‘Ashad Ka Ek Din’
“Fifty years since its release, ‘Ashad Ka Ek Din’ holds on to its Bressonian and austere power.”
The Rediscovered: Bertrand Bonello’s ‘Ingrid Caven: Music and Voice’
“In Paris on a night in 2012, or from a screen in 2021, one may see in Ingrid Caven’s ecstatic performance something that touches the raptures.”
‘That Sinking Feeling’ and a Very Scottish Heist
“At a time when on-screen Scotland was mostly shown to be either Ken Loach or ‘Brigadoon,’ ‘That Sinking Feeling’ manages to be its own thing…”
Emma Seligman’s ‘Shiva Baby’ and the Art of Comic Discomfort
“‘Shiva Baby’ is most certainly not a movie for those who get clammy and start to sweat at secondhand embarrassment.”
‘The House Is Black’ and The Radical Spirit of Forugh Farrokhzad
“Much like Farrokhzad’s poems, ‘The House Is Black’ pushes the viewer and its subjects to strive for some kind of freedom, whether emotional, spiritual or political.”
‘Cotton Comes to Harlem’ – The Neo-Noir That Black America Needed
“At first blush, ‘Cotton Comes to Harlem’ may not seem like a traditional noir production. But over time, the 1970 film has become one of the most vivid examples of the genre being inclusive.”
In Memoriam: The Verisimilitude of Richard Donner
“It’s fitting that Donner leaves behind a body of work that champions open-mindedness, films that illustrate how everyone is deserving of understanding. With understanding, even the impossible has the potential to become possible.”
Mannhunting: Exploring Masculinity in the Films of Michael Mann – Part Four
“Masculinity in Mann’s world is its own prison, a conundrum of duality, a question of what someone will stand for and the masks they may wear while striving for an identity.”
Janicza Bravo Takes ‘Zola’ on the Road
“‘Zola’ is a star-making opportunity that Paige owns with every raised eyebrow and skeptical look.”
Smoke ‘Em: ‘The Fast and the Furious’ at 20
Joey Keogh on the 20th Anniversary of ‘The Fast and the Furious’
Insinuendos in the Hacienda: ‘Sexy Beast’ at 20
“Beautifully shot, wildly inventive and devilishly unpredictable – and with a swooning, dead-cool soundtrack to match – ‘Sexy Beast’ is well worth celebrating on its 20th anniversary.”
The Unfashionable: Thomas Bezucha’s ‘Let Him Go’
“Unlike many neo-westerns, which bandy hollow notions of ‘civilization’ that play out on the film’s surface, ‘Let Him Go’ runs a classical plot through a refined image of modern society.”
Trash, Trauma and Revenge in Matthew Bright’s ‘Freeway’
“In ‘Freeway,’ Vanessa isn’t a girl who has won a battle, but one who has lost a war.”
‘State Funeral’: Joseph Stalin’s Grand and Ominous Farewell Procession Revisited
“Loznitsa’s ‘State Funeral’ is an important reflection on the moving image.”
Prano Bailey-Bond Visits Britain’s Video Nasty Era in ‘Censor’
“Had ‘Censor’ managed both Enid’s personal nightmare and wrestled more deliberately with some of the moral questions posed by the title, more viewers might have been inclined to initiate conversations about the horror genre’s traditions of transgression.”
Mannhunting: Exploring Masculinity in the Films of Michael Mann – Part Three
Mannhunting #3 by Bill Bria (‘Ali,’ ‘The Insider’ and ‘Collateral’)
The Art of the Score: David Mamet’s ‘Heist’
The Art of the Score #1: Blake Howard on David Mamet’s ‘Heist’
The Metaphorical and Elusive Camera of ‘The Disciple’
“‘The Disciple’ can be highly rewarding if one notices and appreciates its technical brilliance. Criticizing the film for its slow pace and aloof camerawork is akin to labeling classical music as boring and tedious.”