“The style of 88:88 has been compared to Jean-Luc Godard, specifically his recent projects like Film Socialisme (2010) and Adieu au langage (2014). What sets this film apart from Godard is an intimacy approaching a breach of privacy.”
“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.”
“As the music industry continues to evolve and both Dr. Dre and Ice Cube remain icons of the entertainment industry, Straight Outta Compton serves as a reminder of underground mentality and how a simple idea can change one’s life forever.”
“Even seasoned film writers struggle to put into words the enduring appeal of Hong Sang-Soo.”
A Series by Dylan Moses Griffin
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
“Masculinity has been the love-theme of this year’s edition of Locarno, and Chevalier further indulges in the dank impulses and fragility of the male ego.”
“Morley pushes the film’s “mystery” beyond any audience guessing games to a level of bewilderment above any useful analysis, leaving viewers in a state of excited shock.”
An Essay by Josh Slater-Williams
“Cosmos feels more like a parody of Zulawski’s work than a larger part of it.”
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
“Matched by the acrobatic ferocity of Ferguson’s Faust, Cruise’s antics transform Rogue Nation into an explosive Cirque du Soleil performance on the grandest of scales.”
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