Girls, Boys and Technology
“‘The Social Network’ is a history lesson, but ‘Easy A’ remains coldly ensconced in the here and now.”
At the Cinémathèque: ‘The Pillow Book’ (Peter Greenaway, 1996)
“As formally challenging as ‘The Pillow Book’ may be, it romantically creates a love affair unbound by its physical limits, connecting it to past and present through art and literature.”
Of Love and Other Demons: ‘Blonde Venus’ (Josef von Sternberg, 1932)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Joel Potrykus and Slacker Cinema
“Joel Potrykus has emerged as one of Michigan’s brightest sons.”
Why Criticism: We Need to Talk About Short Films
A Column on Film Criticism by Justine A. Smith
Two Drink Minimum: Greg Tiernan and Conrad Vernon’s ‘Sausage Party’
“In many ways, it’s like watching the Olympics. You may not understand every event or even grasp the differences between the best in the world or last place, but you respect the talent behind it.”
Red Herrings and Strange Bedfellows: The Night Of ‘Samson and Delilah’ (Recap)
“Zaillian and Price find themselves with quite a bit of ground to cover in the series’ final two episodes.”
‘Crazy Ex-Girlfriend’: In Celebration of Dramatic Women
“Through all of these corny musical numbers, the rom-com scenarios, and the outrageous ‘I Love Lucy’ levels of scheming, I find myself relating to Rebecca against the odds.”
Of Love and Other Demons: ‘Underworld’ (Josef von Sternberg, 1927)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Why Criticism: So, You’re Covering a Film Festival?
A Column on Film Criticism by Justine A. Smith
Studio Ghibli Forever: An Initiation – ‘The Tale of the Princess Kaguya’
“As in many Studio Ghibli films before it, the male director is speaking directly to his male audience, pleading with them to treat the women in their lives with the respect and equality they deserve.”
Two Drink Minimum: ‘BoJack Horseman’ Season 3 Recaps (Part 4 of 4)
“As long as those around BoJack grow more and more distant, so will his second chances.”
A Trip to the Sensory Deprivation Tank: Comparing ‘Fringe’ and ‘Stranger Things’
“Perhaps, in an alternate-parallel-upside-down universe somewhere, Fringe was a massive sensation on Netflix or Amazon Prime.”
‘Modern Times’: Charlie Chaplin Finds Freedom in the Age of Industry
“‘Modern Times’ is emblematic of a ‘Hollywood realism,’ with a rather immaculate industrial setting, strategically tattered clothing and deliberately designed destitution.”
John Huston’s Legacy and ‘The Dead’ (1987)
John Huston’s talent was in the insinuation of the unseen environment lying beyond closed doors. Even in lesser films, like Key Largo, one can feel the cruel and merciless outdoor fighting beyond the set. Our comfort in life is temporary — an endless guerilla battle where humanity has been pitted against […]
Punk Celebrates Its 40th Birthday with a Night at the Movies
“Relying heavily on the sheer talent of its leading performers, and the loud boisterousness of the music that defined an era, Alex Cox’s ode to punk is pure Anarchy in the UK.”
What Has Been Seen Cannot Be Unseen: Kiyoshi Kurosawa’s ‘Pulse’
“The internet is nor symptom nor cure; it simply exists as another conduit for the best and worst habits we have.”
Of Love and Other Demons: ‘The Docks of New York’ (Josef von Sternberg, 1928)
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
Studio Ghibli Forever: An Initiation – ‘The Wind Rises’
“Almost as if something out of a Japanese elementary school history class, Miyazaki’s last Studio Ghibli film leaves me with a great sense of numbness rather than the invigorating wonder I have come to expect from the master of anime.”
Why Criticism: Bechdel and Comics as Film Criticism
A Column on Film Criticism by Justine A. Smith (@redroomrantings)
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