“Like the films it contains, Hail, Caesar! mystifies its audience via otherworldly charm and magnificent grandeur — it is not a love letter to anything, it is a hymnal to the divine spirit of film.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“Amidst the personal turmoil, the racial context of American Crime Story comes through even stronger in “The Run of His Life,” building on the insinuation of the Rodney King opening of the premiere.”
“Faith is an admirable quality in the age of secular reasoning. How can a person believe in something that is not there? Only with their whole hearts.”
“For a legendary director known more for gangsters, hookers, and tough guys, Alice Doesn’t Live Here Anymore stands as a remarkable chapter in the Scorsese canon.”
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“The morality and plot of the film, despite the hand-holding, are impossible to follow, as wars, balls, tea parties, schemes, and bizarrely combative discussions between sisters all feel as equally light and dreary as the next, like equal servings of spoiled plain yogurt.”
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“We dream, we fantasize, and we are haunted by that we cannot change. We are desperate to reinvent ourselves, and we always think some other place will be better.”
“Like something completely lost in translation, JeruZalem is more Troll 2 than Cloverfield and contains all the ironic hallmarks of a future cult phenomenon.”
“It’s not even February, but it feels safe calling Pre Vis Action the best action film of 2016.”
“Both films deal with maternal sexuality: The Boy punishes it and rebukes mothers for caring about anything other than their children, and The Babadook acknowledges it as difficult to balance with childcare, but an inescapable part of motherhood nonetheless.”
“Don’t call it a comeback, call it a Reeves-urrection.”
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith