Abel Ferrara’s ‘Pasolini’: A Poetic Disruption with Great Desires
“By the final act, Ferrara has presented both the man and the legend, but can’t seem to decide which version he wants the audience to remember.”
Review: Andrea Berloff’s ‘The Kitchen’
“The Kitchen fares so much better when read as a kind of self-aware meta-narrative of the gangster film, and an examination of Berloff’s construction of the men is one argument for why this rare, female-helmed genre piece deserves a second look.”
Locarno Film Festival Review: Vesela Kazakova and Mina Mileva’s ‘Cat in the Wall’
“Refusing to look down on their characters, Kazakova and Mileva effectively portray disillusion by relying on familiarity and recognition to bring the marginalised closer.”
Locarno Film Festival Review: Eric Bergkraut and Ruth Schweikert’s ‘Parents – Wir Eltern’
“‘Parents – Wir Eltern’ is an imminently likeable movie, but frustrating for the insurmountable reach of its ambition.”
‘District 9’: Xenophobic Themes Still Resonate a Decade Later
“‘District 9’ might not be a classic like ‘Alien’ or ‘The Terminator’ (not many films are), but it’s still an effective sci-fi film with depth and style.”
Locarno Film Festival Review: Kôji Fukada’s ‘A Girl Missing’
“While some metaphors seem rather self-explanatory, Fukada effectively develops a multifaceted character by transforming Ichiko from a collateral victim into an accomplice. ‘A Girl Missing’ highlights the importance of knowing when to speak up and when to stay silent.”
Locarno Film Festival Review: Tyler Taormina’s ‘Ham on Rye’
“‘Ham on Rye’ has an inescapably student film-y vibe, a bit like a wannabe Richard Linklater joint but without any of the ambition, grit or intelligence.”
12 Angry Films: Sidney Lumet on Justice #2 – ’The Hill’
“‘The Hill’ charts a path forward for Lumet’s justice films, which increasingly depart from the idealism of ’12 Angry Men’ and reckon deeply with the justice system’s contradictory, irreconcilable principles.”
Review: Lulu Wang’s ‘The Farewell’
“Writer-director Lulu Wang finds inventive ways to freshen up the terminal cancer tale in ‘The Farewell,’ a worthwhile diversion to so much summer blockbuster fare.”
Hollywood Confronts Itself: Cynicism and Self-Doubt in the 50s
“A sense of restlessness began to be addressed tentatively, and was confronted with increasing boldness as the decade progressed. Battles were being waged on multiple fronts of this unacknowledged war, claims were being sought from historically neglected constituents.”
Review: Issa López’s ‘Tigers Are Not Afraid’
“What ‘Tigers Are Not Afraid’ doesn’t contain in terms of deep characters and real-world specificity, it makes up for with its supernatural elements, allowing its allegory to resonate.”
Review: Tilman Singer’s ‘Luz’
“‘Luz’ may be a distancing film, but it’s ultimately a fascinating and genuinely creepy one, forging as it does a bold new vision for the tired old demon possession movie, taking a cue from the demons of the subgenre and putting new life into its subject.”
Album Review: Ty Segall ‘First Taste’
“If ‘Manipulator’ is Segall’s White Album, and ‘Emotional Mugger’ his ‘Magical Mystery Tour,’ then ‘First Taste’ might be his ‘Abbey Road’: brazenly eclectic yet wonderfully cohesive; deeply personal yet superbly tuneful.”
That Title Is Currently Unavailable: Chasing the Hard-to-Find Movie
“Many can relate to the time-sucking dread of endlessly scrolling through options in search of something to watch, which has become the digital-era equivalent of scouring video store shelves for some tasty new treat or previously overlooked gem.”
Review: Liza Mandelup’s ‘Jawline’
“As we careen further down the barrel of late-capitalism, it has become clear that the laborer is now the product.”
It’s Only a Movie: Audience Complicity in Horror and Exploitation Films
“While it might be easy to assume that films like ‘Natural Born Killers’ and ‘Funny Games’ simply demonise their audiences as wanting the thrill of violence without thinking about the consequence of it, the films instead ask questions, instead of only providing answers.”
Body Horror: Sex and Alienation in Steve McQueen’s ‘Shame’
“In an era of ever constant loneliness, where many people feel cut off from the human race, regardless of social media profiles or followers, ‘Shame’ feels as vital now as it did in 2011.”
Fight Like a Man: ‘Rocky V’ and ‘Rocky Balboa’
“Fathers make sense when we can reduce them to symbols, but the actual business of parenting is so defined by ‘feminine’ qualities — emotional openness, compassion, gentleness, patience — that we often struggle to correlate them with a father figure.”
‘Once Upon a Time in Hollywood’ Is a Sun-Soaked Fairy Tale with Unexpected Heart
“‘Once Upon a Time in Hollywood’ is not groundbreaking Tarantino, but it’s a fun trip back through time with real heart and likeable characters. Allow yourself to sink into its world and you’ll be rewarded with good tunes, laugh-out-loud jokes and moments of exhilaration.”
Once Upon a Time in Tarantinoland: ‘The Hateful Eight’ Is a Slog, But a Solid Thriller
“When looking at Tarantino’s filmography, ‘The Hateful Eight’ doesn’t hold a candle to works like ‘Pulp Fiction’ or ‘Kill Bill,’ but it’s an entertaining film nonetheless — if you don’t mind the runtime.”