“A careful reframing of the typical coming-of-age narrative, ‘Spirited Away’ displays a fondness those infinitely awkward years, while showing us all how important they were in making us who we are today.”
A Column on Film Criticism by Justine A. Smith
“Sing along with a corpse and come out the other side appreciating the bus ride home.”
“A series of goofy images isn’t a comedy.”
“In full metamorphosis and reinvigorated by a new voice and direction, there could be no better program to sell that cinema in Montreal is sexy again.”
“‘Princess Mononoke’ explores the gaping chasm between nature’s gentle acceptance of circumstance and humanity’s steadfast refusal to quietly accept death.”
“It’s not a dumb movie pretending to be smart, it’s a dumb movie worried about (yet still embracing) its own base stupidity.”
A Column on Film Criticism by Justine A. Smith
“It looks like a ‘Bill Nye the Science Guy’ episode was produced about manzai after they lost Bill, their writers and about ninety percent of their budget.”
A Series by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“An enchanting film that surreally embraces the child within, ‘Only Yesterday’ feels like the first Studio Ghibli film to be firmly aimed at an adult crowd.”
A Column on Film Criticism by Justine A. Smith
“One of many elements ‘the fits’ represent is this notion of burgeoning sexuality and how young women respond to the loss of virginity.”
“With ‘A Married Woman,’ Godard appears fully devoted to topical bullet points through an essayistic structure, forgoing conventional narrative, character development or expedient pacing.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“‘Kiki’s Delivery Service’ captures the imaginations of young viewers while imploring the older among them to let common sense go in order to enjoy the pop music and irrefutable heart.”
“Would we like The Rock as much if he wasn’t shredded like taco lettuce?”
“As a whole, ‘Fantastic Planet’ works both as fascinating relic and singular cinematic experience, thick with psychedelic riches for the eyes and ears.”
“Ida Lupino may have thought of herself as a poor man’s Don Siegel as a director and Bette Davis as an actress, but I think that’s far from true.”