Of Love and Other Demons: ‘The Rocky Horror Picture Show’ (Jim Sharman, 1975)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Plunging into the depths of love, loss, addiction, family and life aspirations, Finders Keepers is far more than the story of a smoked left foot.”
“Where this slick and sick debut falters is in its leanings towards repetition, with the same arguments played out over and over, and even some of the same set-piece conceits seeing repeat play.”
A Column by Dylan Moses Griffin
“‘Blood for Dracula’ is confusing thematically, but I think thatโs part of the point. As pulpy as it is, Morrissey’s filmย strongly confronts and challenges our ideas of purity and gender.”
“Expanding on the standard documentary outline, director Douglas Tirola strings a series of in-depth interviews together with original National Lampoon magazine artwork, album excerpts and stage show footage — providing enough tits, drugs and comedy to satiate fans young and old.”
“As a piece of sweeping populist entertainment, The Martian is a great success, despite a couple of issues that perturb throughout.”
A Column by Max Bledstein
A Column by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“45 Years is unconcerned with the โcutenessโ of love — Haigh wants to know what makes it tick.”
“A remarkably pervasive journey through one man’s search for meaning in his own life, The Primary Instinct captures an utterly captivating performance in a very standard way.”
“As impressive and excruciating as Hall and his team’s journey was, Everest fails to capture the specifics.”
A Series by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“The Buรฑuelian meets the Duplassian in The Overnight, a chamber comedy of social and sexual manners from director Patrick Brice (2014โs Creep).”
A Column by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Little more than an extravagant, blood-soaked and alcohol-fueled story, Legend fulfills its title; an overinflated piece of bar room folklore better told over a cold pint of Guinness (or several)”
A Column by Max Bledstein