“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.”
A Series by Dylan Moses Griffin
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
An Essay by Josh Slater-Williams
A Column by Phuong Le
“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.”
A Column by Dylan Moses Griffin
A Series by Dylan Moses Griffin
“Heller draws a refreshing beauty from her “this is what it is” approach in The Diary of a Teenage Girl, getting tenderness out of content too often used simply to titillate, shock or be used for didactic tirades.”
A Column by Max Bledstein
A Column by Dylan Moses Griffin
“‘Black Orpheus’ embraces sex as multiplicitous. This somehow makes the love more noble, because it is not confused with lust, and sex becomes a celebration rather than a symbol of it.”
A Column by Max Bledstein
“Fully asserting the series reboot mantra, M:I II eschews the original’s ethos in favour of half a Hitchcock riff (a lot of Notorious, with a pinch of To Catch a Thief) and half traditional, near self-parodic Woo bombast.”
The Fifth and Final Installment of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
A Series by Dylan Moses Griffin
A Column by Dylan Moses Griffin
“Pasolini suggests in ‘Mamma Roma’ that the spiritual beauty of humanity often emerges from vulgarity and contradiction.”
“Phoenix’s devastating final scene pretty much erases a need for the specifics of the moral blindness.”
A Column by Dylan Moses Griffin