Capitolo 20: Mi Fido Di Te / Ermanno Olmi’s ‘I fidanzati’
A Series on Italian Cinema by Q.V. Hough
His Blazing Automatics: Can Jason Bourne Change the Action Genre Again?
A Column on Action Films by Dylan Moses Griffin
Stranger With My Face Festival 2016: ‘Evolution’ and ‘The Love Witch’
“Horror and femininity run hand in hand.”
Review: Don Cheadle’s ‘Miles Ahead’
“In keeping with the tempo and improvisational flair of his subject, Don Cheadle has succeeded in breaking through the standard tediums of biographical film.”
Review: Ben Wheatley’s ‘High-Rise’
“‘High-Rise’ gazes without flinching at a cavalcade of violence without ever feeling like it’s truly stepped into the muck.”
Why Criticism: In Defence of the Personal
A Column on Film Criticism by Justine A. Smith
Review: Mike Flanagan’s ‘Hush’
“‘Hush’ has some very interesting moving parts in what amounts to an average film.”
The Feminine Grotesque #9: Learning How to Live – On ‘Eve’s Bayou’
“‘Eve’s Bayou’ is like a living poem, deftly exploring the way memory can both comfort and haunt us, long after the actual wounds of our tragedies heal.”
Capitolo 20: Intro / Ermanno Olmi’s ‘Il Posto’ / Cosa Sei Disposto a Perdere
A Series on Italian Cinema by Q.V. Hough
Tribeca Viewpoints: José Villalobos’ ‘The Charro of Toluquilla’
“‘The Charro of Toluquilla’ is definitely worth seeing, as Jaime is a character that you will not soon forget.”
We Failed This Film: David Lowery’s ‘Ain’t Them Bodies Saints’ (2013)
A Series by Dylan Moses Griffin
Of Love and Other Demons: ‘In a Year with 13 Moons’ (R.W. Fassbinder, 1978)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Terrence Malick’s ‘Badlands’ Is a Great American Love Story
“Some movies are so good that when they’re over, you almost expect the whole film industry to shut down.”
Review: Jon Favreau’s ‘The Jungle Book’
“The Jungle Book is a fun, brisk and absolutely gorgeous achievement that honors the past while looking unflinchingly into the future.”
Why Criticism?
A Column on Film Criticism by Justine A. Smith
Ebertfest 2016: Sound Some Opinions
Jacob Oller on His First Ebertfest
Kinoteka Polish Film Festival: Rediscovering ‘The Secret Garden’
Josh Slater-Williams on the Nostalgic Element of Agnieszka Holland’s 1993 Film
Dudley’s World: The Painstaking Anxiety of Henri-Georges Clouzot’s ‘The Wages of Fear’
A Column by Jordan Brooks
Review: Ariel Vromen’s ‘Criminal’
“Regretfully, ‘Criminal’ makes up for its lack of ideas with blood, guts and even more blood.”
The Feminine Grotesque #8: Kingdom of Rot – On ‘Queen of Earth’
A Series by Angelica Jade Bastién