His Blazing Automatics: The Theme Park Ride Exhilaration of Marcus Dunstan’s ‘The Collector’ and ‘The Collection’
A Column by Dylan Moses Griffin
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Of Love and Other Demons: ‘Cat People’ (Jacques Tourneur, 1942)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Review: Brian Helgeland’s ‘Legend’
“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)”
The Dueling Cavalier: The Challenge of Representing Creative Genius in ‘The End of the Tour’ and ‘Whiplash’
A Column by Max Bledstein
Alison Brie Shines in ‘Sleeping with Other People’
“Headland’s screenplay fires a couple of blanks, which serves to only highlight some of the more token traditional rom-com tropes still on offer here. That said, when Sleeping with Other People does hit — which is a lot of the time — it’s an invigorating spicing up of formula; a winning balance of hedonism and heart that’s unapologetic about either quality.”
SANFIC 11: Kill (f)or Love: Hou Hsiao-Hsien’s ‘The Assassin’
Jaime Grijalba on Santiago Festival Internacional de Cine
SANFIC 11: Tired Immigrants and Tired Violence – Jacques Audiard’s ‘Dheepan’
Jaime Grijalba on Santiago Festival Internacional de Cine
Dog Days of September: The American League Belongs to the Underdogs
Dylan Moses Griffin on Small Ball Strategies
His Blazing Automatics: You and Me and the Devil Makes Three – The Religious Allegory of Craig Zobel’s ‘Z for Zachariah’
A Weekly Column by Dylan Moses Griffin
Review: Bob Byington’s ‘7 Chinese Brothers’
“While framed as a film about learning some great lesson about life and happiness, 7 Chinese Brothers never really builds from this assumed groundwork.”