Vague Visages Is FilmStruck: Jeremy Carr on Mike Leigh’s ‘Happy-Go-Lucky’
Vague Visages Is FilmStruck: A Column Devoted to the Streaming Platform FilmStruck
The Tribal Landscapes of Andrea Arnold
“Andrea Arnold’s work encapsulates the liminal stage of feminine adolescence.”
What’s Normal Anyway?: Searching for Balance in ‘Captain Fantastic’
“‘Captain Fantastic’ doesn’t provide definitive answers to the lingering questions of normalcy and grief, but instead it encourages viewers to find the necessary balance to live life on their own terms.”
In Defense Of: Pascal Laugier’s ‘The Tall Man’ (2012)
“By refusing to provide facile answers, ‘The Tall Man’ is, in many ways, just as much of a challenging film as ‘Martyrs.'”
Knockin’ on Heaven’s Door: Analyzing Martin Scorsese’s ‘Silence’ as a Remake of His 1967 Debut
“Scorsese’s latest film channels the same intellectual curiosity and spiritual fervor of his directorial debut, with the addition of nearly 50 years of experience in technical skill and storytelling precision.”
Losses Made in Heaven: Martin Scorsese’s ‘The Wolf of Wall Street’ and ‘Casino’
“In Scorsese’s inversion of the downfall, paradise isn’t the origin and its loss doesn’t mean moral decrepitude, only mediocrity.”
Review: Martin Scorsese’s ‘Silence’
“For all its violence and grandiosity, it stands as an impressively filmed indictment against religious persecution.”
Heartstrings: The Musical Presence of Martin Scorsese’s Films
“More than any of Scorsese’s own cameos, his music accompanies viewers as they watch, as if he were watching along with everybody else.”
What I Learned from Martin Scorsese’s ‘Life Lessons’
“Martin Scorsese’s ‘Life Lessons’ benefits more from analysis as a self-standing artistic expression than as a counterpoint to the other installments of ‘New York Stories.'”
Toxic Masculinity and Empathetic Comedy: Martin Scorsese’s ‘Alice Doesn’t Live Here Anymore’
“The cumulative effect of ‘Alice Doesn’t Live Here Anymore’ is one of openness and warmth.”
The Way of the Future: The Connections Between Martin Scorsese’s ‘Raging Bull’ and ‘The Aviator’
“With ‘Raging Bull’ and ‘The Aviator,’ Martin Scorsese perfects a configuration of the biopic as self-recognized fiction.”
‘Arrival’ and the Perils of Science Fiction
“What is awkward about these ‘Arrival’ reviews is how they oppose the film’s best qualities to its generic roots.”
Vague Visages Is FilmStruck: Pedro Costa’s ‘In Vanda’s Room’
“Whatever its genus, ‘In Vanda’s Room’ is one harrowing motion picture… It is also one of the best films from the past 20 years.”
Weak Story Beats Muddle ‘Frank & Lola’
“There’s plenty to appreciate in ‘Frank & Lola,’ and it’s far from a bad film. However, the story beats feel awkward and random.”
Streamless – Off the Subscription Grid: ‘Film’ Starring 1965 Buster Keaton
“How are we doing here, folks? Does any of this make a lick of sense?”
Of Love and Other Demons: ‘Baby Doll’ Celebrates Its 60th Anniversary
A Column on Love and Erotica in Cinema by Justine A. Smith
James Benning’s ‘Stemple Pass’: Minimalist Horror for Trump’s America
“Played in 2016, it’s eerily prophetic.”
Vague Visages Is FilmStruck: Stanley Kubrick’s ‘Fear and Desire’
“‘Fear and Desire’ is more than just a curio for the Kubrick completist. It is indeed a genuinely revealing work.”
The Subversive Power of ‘Elle’
“‘Elle’ is a demented Rorschach test of the highest degree.”
A Portraiture of Grief in ‘Manchester by the Sea’ and ‘Personal Shopper’
“Whereas Lonergan interrogates the realities of grief with sober restraint, ‘Personal Shopper’ director Olivier Assayas plunges viewers right into his protagonist’s bereaved headspace.”