His Blazing Automatics: The Theme Park Ride Exhilaration of Marcus Dunstan’s ‘The Collector’ and ‘The Collection’
A Column by Dylan Moses Griffin
Of Love and Other Demons: ‘Cat People’ (Jacques Tourneur, 1942)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
The Dueling Cavalier: The Challenge of Representing Creative Genius in ‘The End of the Tour’ and ‘Whiplash’
A Column by Max Bledstein
Alison Brie Shines in ‘Sleeping with Other People’
“Headland’s screenplay fires a couple of blanks, which serves to only highlight some of the more token traditional rom-com tropes still on offer here. That said, when Sleeping with Other People does hit — which is a lot of the time — it’s an invigorating spicing up of formula; a winning balance of hedonism and heart that’s unapologetic about either quality.”
SANFIC 11: Tired Immigrants and Tired Violence – Jacques Audiard’s ‘Dheepan’
Jaime Grijalba on Santiago Festival Internacional de Cine
His Blazing Automatics: You and Me and the Devil Makes Three – The Religious Allegory of Craig Zobel’s ‘Z for Zachariah’
A Weekly Column by Dylan Moses Griffin
We Failed This Film: Matt Reeves’ ‘Let Me In’
A Series by Dylan Moses Griffin
The Dueling Cavalier: Contrasting Effectiveness of the Long Take in ‘The Tribe’ and ‘Birdman’
A Column by Max Bledstein
Of Love and Other Demons: Ideal Love in Cinema
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
His Blazing Automatics: The Communicative Filmmaking of Cornel Wilde’s ‘The Naked Prey’
A Column by Dylan Moses Griffin
Gone But Not Forgotten: Remembering Rudolph Valentino 89 Years After His Death
Rudolph Valentino (May 6, 1895 – August 23, 1926)
We Failed This Film: Walter Hill’s ‘Streets of Fire’
A Series by Dylan Moses Griffin
Of Love and Other Demons (From Locarno 2015): Peckinpah and Sex Part 3 – ‘Straw Dogs’
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Locarno 2015: ‘La vallée’ (Barbet Schroeder, 1972)
“La vallée is not an entirely successful film, largely because of its limp energy and problematic ideological frameworks. It is, however, intensely bizarre and a fascinating portrait of a particular time and place.”
We Failed This Film: Christopher McQuarrie’s ‘The Way of the Gun’
A Series by Dylan Moses Griffin
Of Love and Other Demons: Sam Peckinpah and Sex – ‘The Getaway’
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
‘Only Yesterday’ Is Studio Ghibli’s Secret Masterpiece
An Essay by Josh Slater-Williams
Film Beat: ‘In Dreams’ from David Lynch’s ‘Blue Velvet’ (1986)
A Column by Phuong Le
Of Love and Other Demons: Sam Peckinpah and Sex – ‘The Ballad of Cable Hogue’
“Cable Hogue ogles and desires Hildy because she appeals to him sexually: there are no shades of grey here, no self-reflection. In the world of Peckinpah, sex is often just sex.”
His Blazing Automatics: How One Scene in ‘Mission: Impossible – Rogue Nation’ Defines the Strengths of Christopher McQuarrie
A Column by Dylan Moses Griffin