Devious Dialogues: Mike Thorn and Anya Stanley on the ‘Insidious’ Franchise
“Well, we’re definitely in agreement that ‘Chapter 2’ is the best of the series!”
Bertolt Brecht, Fritz Lang and German Expressionist Fury
“Lang’s film becomes a committed act of social justice advocacy, raging against its enforced limitation, and striving to break the formal apparatus that could often be employed to constrain Classic Hollywood cinema.”
Sundance Film Festival Review: Josephine Decker’s ‘Madeline’s Madeline’
“At the risk of succumbing to the Sundance hype atmosphere, writer/director Josephine Decker may be offering a new form of altered cinematic consciousness with ‘Madeline’s Madeline.’”
Vague Visages Is FilmStruck: Henri-Georges Clouzot’s ‘The Wages of Fear’
“Just because ‘The Wages of Fear’ is dire and pessimistic, that doesn’t make it any less perceptive or accurate. Quite the contrary: the virulent truth only makes it that much more engrossing…”
Sundance Film Festival Review: Nicolas Pesce’s ‘Piercing’
“‘Piercing’ plays out Reed and Jackie’s tryst as a sadomasochistic Punch and Judy routine, with the flare-ups of violence equally funny and horrifying.”
Critics in Conversation: Talking about Filmmakers and Talking with Them
Manuela Lazic and Adam Nayman on Conducting Interviews and Writing about Directors
Documenting the Afterlife: Carol Salter’s ‘Almost Heaven’
“Even death can become tedious when one deals with it every day.”
Let the Right Light In: On Escapism, Coping Mechanisms and Master Projections in Paul Thomas Anderson’s ‘The Master’
“The processing conversation is perhaps the most telling sequence of all, as Quell submits to The Master — the Master Projection — and acknowledges his own self-deception.”
“Well, Childhood’s Over” – Claiming Adulthood with Some Help from Greta Gerwig
An Essay by Marshall Shaffer
Review: Paul Thomas Anderson’s ‘Phantom Thread’
“If indeed this is Day-Lewis’ swan song, ‘Phantom Thread’ is the crowning achievement of a monumental career.”
The Various Representations of Dogs in the Horror Genre
“Dogs are a huge asset to the horror genre, as menaces and as loyal comrades.”
‘Call Me by Your Name’: On Obsession, Growing Up and Falling in Love
An Essay by Ella Kemp
Vague Visages Is FilmStruck: Michael Haneke’s ‘Benny’s Video’
“‘Benny’s Video’ implicates us, the audience, for watching. Haneke chides the spectators, removed from the action by a screen, for their inability — or perhaps their unwillingness — to stop the violence.”
Critics in Conversation: The Critic and the Actor
In the second part of a three-chapter conversation conducted over months via a large Google Doc, Manuela Lazic and Adam Nayman discuss acting and how film critics interpret performances.
A Retreat into the Self: Introspection and Egoism in Ingmar Bergman’s ‘Wild Strawberries’
“Bergman’s penchant for giving physical form to the conscious and subconscious mind is rarely more apparent than in his 1957 masterpiece ‘Wild Strawberries.’”
Review: Ridley Scott’s ‘All the Money in the World’
“It’s ultimately Scarpa’s bizarre scripting decisions that make the film just a fun crime thriller, and not a Ridley Scott classic.”
An Ode to Alice Lowe’s Performance in Her Feature Directorial Debut ‘Prevenge’
“As any great piece of cinema should evoke in the viewer, Alice Lowe’s electric performance in ‘Prevenge’ makes one laugh, cry and shriek in terror.”
Jack Ascending: Nicholson’s 1980s
“There has always been a conflict at play in Nicholson’s screen presence: between ‘Nicholson’ and ‘Jack.’ The desire to be taken seriously and the lure of the riotous Jack persona have always done battle across his decades of stardom.”
Review: Valérie Massadian’s ‘Milla’
“Although the well worn label of ‘humanist’ may have lost its meaning by now, ‘Milla’ truly lives up to the mantle, as it is ultimately concerned with the fortitude and ability of a young woman to create a space of her own in the world.”
Review: Aaron Sorkin’s ‘Molly’s Game’
“For a film that prides itself on being ‘based on a true story,’ ‘Molly’s Game’ often relies on moments that are too coincidental, too easy. Yet, there’s nothing here to suggest that Sorkin won’t eventually figure things out behind the camera.”