Two Drink Minimum: Mandie Fletcher’s ‘Absolutely Fabulous: The Movie’
“It’s like hanging out with your spoiled great aunt at Thanksgiving for an hour until she gets plastered and ruins everything.”
“It’s like hanging out with your spoiled great aunt at Thanksgiving for an hour until she gets plastered and ruins everything.”
“With ‘Le amiche,’ Antonioni further bridges the gap between comparatively conservative melodrama and the groundbreaking narrative and visual abstraction he would soon unleash.”
“Beyond racial insensitivity, the opening hours of ‘The Night Of’ have been marked by attempts at complexity which end up doing little to give characters depth.”
A Series by Dylan Moses Griffin
“As it’s proven in its previous episodes, ‘Preacher’ is not a show that markets in hope, and all that Jesse has left in his wake so far is a boy sent to Hell, a lost church, broken relationships and a dead dog.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Two personified thumbs up.”
“A careful reframing of the typical coming-of-age narrative, ‘Spirited Away’ displays a fondness those infinitely awkward years, while showing us all how important they were in making us who we are today.”
A Column on Film Criticism by Justine A. Smith
“Sing along with a corpse and come out the other side appreciating the bus ride home.”
“A series of goofy images isn’t a comedy.”
“The episode stumbles by dogmatically adhering to Chekhov’s gun more than is necessary or beneficial, but the talents of Zaillian, Price and the cast still give ‘The Night Of’ an excellent start.”
“Viewers surely know that it’s not God behind Jesse’s powers, and ‘Preacher’ is about to unveil what evils Jesse will allow himself in order to save his land, and his life.”
“In full metamorphosis and reinvigorated by a new voice and direction, there could be no better program to sell that cinema in Montreal is sexy again.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“‘Princess Mononoke’ explores the gaping chasm between nature’s gentle acceptance of circumstance and humanity’s steadfast refusal to quietly accept death.”
“It may sound like an odd compliment to praise a film for coming across like an ambien trip.”
“We don’t who Helmut Berger is. Neither does he. Once a star, he will always be a star.”
“It’s not a dumb movie pretending to be smart, it’s a dumb movie worried about (yet still embracing) its own base stupidity.”
A Column on Film Criticism by Justine A. Smith