“The success of ‘The Crossing’ and ‘The Third Wife’ should speak to the unique ability of female filmmakers and female characters in filling in the narrative gaps in Vietnamese and Chinese cinema, in which male directors wield dominant creative control.”
“As in ‘Ida,’ Pawlikowski offers little exposition, which leaves the audience to gather any and all clues.”
“‘Mid90s’ has drawn some comparisons to Harmony Korine (who makes a cameo in Hill’s film) and Larry Clark’s ‘Kids,’ but Hill’s worldview is far less toxic and dangerous than the grimmest territory explored in the 1995 movie.”
“‘The Blue Gardenia’ occupies a curious space inside noir. In many ways, it acts as an indirect response to many of the films that preceded it, with their icy femmes fatales…”
“As a largely disregarded noir B-side, ‘Pushover’ deliberately recalls its more famous predecessor, playing upon audience expectations of MacMurray’s screen persona to create an experience of déjà vu.”
“By filtering male anxieties through Stretch’s perspective, Hooper is able to posit an astute observation on the nature of male aggression when they just cannot get it up.”
“Regardless of how one chooses to view it, H20’s legacy will always have Laurie/Keri’s character and Curtis’ performance in its favor.”
“Dario Argento’s ‘Suspiria’ contorts the abjection of horror through a kaleidoscope of popping color.”
“Ultimately, the endurance of Finney’s story and the concept of ‘pod people’ can be attributed to the fact that it’s not a metaphor for any one fear, but rather dozens.”
“Just as the internet unleashed the Slenderman, it is culpable in bringing forth another seductive monster who uses this technology to warp minds and sow division…”
“‘Filmworker’ will be sought by Kubrick completists, but the movie also appeals to anyone who has been seduced by the process of motion picture making.”
“As much as ‘Hoop Dreams’ concerns the sports-centric plight of William and Arthur, it is perhaps even more significantly an illustrative case study of what perpetually imperils men (and women) of a certain social, economic and racial constitution.”
“Given what we now know about Weinstein’s welding of harassment, assault and power to control the women in his professional orbit, it’s uncanny that a seemingly frivolous film about a girls boarding school could share such parallels with the #MeToo movement.”
“‘First Man’ expresses no interest in probing the complexities of space race mythologizing…”
Ella Kemp Interviews ‘The New Man’ Filmmakers/Subjects Devorah Baum and Josh Appignanesi
“Despite its salacious subject matter — sexuality, infidelity and voyeurism — the movie contains shockingly few sex scenes, but still remains erotically charged nearly 30 years later.”
“Goddard delineates his film from its influences by focusing almost exclusively on character. Rather than a story filled with twists and turns and manipulation of the audience, ‘Bad Times at the El Royale’ presents each character’s story as a solo vignette, before tying it into the overarching drama.”
“The quickening tempo of non-diegetic, alienating sounds should not be simply viewed as part of a film score, but as an access point into the fear-induced perspectives of the victims within this film world.”
“Movies aren’t proverbs — their morals are questionable, their questions are impossible to answer. This is the case for good films, at least.”
“Ultimately, it seems that the film’s pleasant and inoffensive affect is exactly what Roth intends. The work is unassuming, competently handled and ably colored within its established lines. It aims clearly and unwaveringly to please a young target audience.”