“As premature as it might be to say in a review for an initial theatrical run, Carol more than earns the right of comparison to Brief Encounter in terms of quality. Frankly, it’s one of the new great romantic films.”
“The Wrong Man is, perhaps, Hitchcock’s most authentic film.”
A Column by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Like its eponymous character, Justin Kurzel’s adaptation of Macbeth is a film pulled in myriad directions for a sense of purpose.”
“‘Gilda’ is one of the great examples of onscreen masochism.”
Semana Internacional de Cine de Valladolid: Andreea Pătru on Beata Gårdeler’s ‘Flocking” and Tali Shalom-Ezer’s ‘Princess’
“Regardless of what comes next for our beloved spy, let us never again speak of (or be subjected to) that opening montage with the trashy, tentacle-porn horror show.”
A Series by Dylan Moses Griffin
“If Skyfall was arguably about the James Bond character having an identity crisis, Spectre feels like the series having one.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
His Blazing Automatics is a Vague Visages column by Dylan Moses Griffin.
A Column by Q.V. Hough (Vaguebande #2)
A Column by Dylan Moses Griffin
“At its best, film allows viewers to see the world through another person’s eyes, and to live for a fleeting moment in somewhere unexpected and beautiful, so wouldn’t it be wonderful if the purity of that moment could last a just little bit longer?”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Column by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Column by Dylan Moses Griffin
“‘Blood for Dracula’ is confusing thematically, but I think that’s part of the point. As pulpy as it is, Morrissey’s film strongly confronts and challenges our ideas of purity and gender.”