The Many Peculiar Virtues of Wes Craven’s ‘My Soul to Take’
“As the second last film in one of the great contemporary horror filmmaker’s careers, it’s an extraordinary example of artistic self-reflection and development.”
A Woman’s Touch: The Trinity of the Body in ‘American Mary’
“With ‘American Mary,’ the Soska sisters tell a story that deserves a place alongside the likes of ‘I Spit on Your Grave’ and ‘Hostel’ in its bold but nuanced steps that push forward the genre entire.”
Biography and Authenticity in the American New Wave
“The lucidity and frankness with which this new wave of filmmakers can dissect their own lives speaks volumes to their talents, boding well for their efforts to come.”
Moments of Revelation in Martin Scorsese’s ‘Silence’ and ‘Shutter Island’
“What is the cost to oneself of living by a system of belief?”
Vague Visages Is FilmStruck: Carlos Saura’s ‘Cría cuervos’
“‘Cría cuervos’ is a film preoccupied with death. It surrounds Ana and obsesses her. Starting with its sobering preamble, the picture is inundated by threatening (and tempting) mortality.”
Mike Birbiglia’s ‘Don’t Think Twice’: The Anti-‘La La Land’
“Where Los Angeles offers an idyllic vision of dreamers, New York can’t help but set the stage for an all too depressing look at those left behind.”
The Serious Camp of Natalie Portman
“Reviews may be breathlessly overusing the ready-made formulation of ‘Natalie Portman IS Jackie,’ but they really should be following Sontag’s lead: Natalie Portman IS ‘Jackie.'”
In ‘Moonlight,’ Black Is the Warmest Color
“Not only does it feel true to its origins, but it also speaks to viewers from different parts of the world.”
Sparkling Romances and Sweet Facades: Damien Chazelle’s ‘La La Land’
“Might I put it out into the ether that a ‘weak link’ doesn’t exist in ‘La La Land’.”
Made Like Welles: Denzel Washington’s ‘Fences’
“In my mind, ‘Fences’ and Denzel’s work is comparable to the best of Orson Welles.”
Kiss Me Deadly: Sex and Gender in ‘Liquid Sky’
“‘Liquid Sky’ seems more relevant than ever.”
Redemptive Criminality in David Mackenzie’s ‘Hell or High Water’
“The grey hue of ‘Hell or High Water’ becomes more distinguishable when juxtaposed to films with plots that are more clearly black or white.”
Casting a Spell for Peace: On ‘Arrival,’ Max Richter and Our Unending Need for Violence
“It’s in Louise’s absolute refusal to allow our barbaric side to win that ‘Arrival’ shows its moral core.”
Vague Visages Is FilmStruck: Jeremy Carr on Mike Leigh’s ‘Happy-Go-Lucky’
Vague Visages Is FilmStruck: A Column Devoted to the Streaming Platform FilmStruck
The Tribal Landscapes of Andrea Arnold
“Andrea Arnold’s work encapsulates the liminal stage of feminine adolescence.”
What’s Normal Anyway?: Searching for Balance in ‘Captain Fantastic’
“‘Captain Fantastic’ doesn’t provide definitive answers to the lingering questions of normalcy and grief, but instead it encourages viewers to find the necessary balance to live life on their own terms.”
In Defense Of: Pascal Laugier’s ‘The Tall Man’ (2012)
“By refusing to provide facile answers, ‘The Tall Man’ is, in many ways, just as much of a challenging film as ‘Martyrs.'”
Knockin’ on Heaven’s Door: Analyzing Martin Scorsese’s ‘Silence’ as a Remake of His 1967 Debut
“Scorsese’s latest film channels the same intellectual curiosity and spiritual fervor of his directorial debut, with the addition of nearly 50 years of experience in technical skill and storytelling precision.”
Losses Made in Heaven: Martin Scorsese’s ‘The Wolf of Wall Street’ and ‘Casino’
“In Scorsese’s inversion of the downfall, paradise isn’t the origin and its loss doesn’t mean moral decrepitude, only mediocrity.”
Heartstrings: The Musical Presence of Martin Scorsese’s Films
“More than any of Scorsese’s own cameos, his music accompanies viewers as they watch, as if he were watching along with everybody else.”