Review: Josh Lawson’s ‘The Little Death’
“Billed as a comedy about sex, Josh Lawson’s The Little Death only manages to explore a small margin of the current sexual landscape.”
Review: Kenny Riches’ ‘The Strongest Man’
“A subdued comedy with some truly inventive gags, The Strongest Man is the culmination of an original voice on the rise more than the triumph of a writer-director already on top.”
Recap: Hannibal ‘Aperitivo’
“This week’s hour was the first of the season not directed by Vincenzo Natali, and his aesthetic sensibility/attention to detail feels missing throughout the episode.”
How Louis Feuillade’s ‘Judex’ and Georges Franju’s Remake Created the Cinematic Language of the Caped Crusader
An Essay by Dylan Moses Griffin
Guns and Dreams in John Cassavetes’ Noirs
An Essay by Phuong Le
Intimate Observations: True Detective ‘The Western Book of the Dead’ (Recap)
“This is Los Angeles pulp fiction — not a mystical world of sky monsters and poetic speeches.”
Review: Mia Hansen-Løve’s ‘Eden’
“It’s an era epic that’s both euphoric and melancholy, riveting despite running on the ever fleeting. It’s the new best film from one of the world’s greatest new directors.”
Review: Rick Famuyiwa’s ‘Dope’
“Despite the well-worn territory and jumbled narrative, Dope is proof positive that Hollywood needs diversity and needs it NOW.”
Review: David Gordon Green’s ‘Manglehorn’
“Seldom more than a vehicle for Pacino to exercise his considerable (and still active) talents, Manglehorn is a string of engaging and breathtaking images that, when strung together, become a subdued meandering plot devoid of any real meaning.”
Recap: Hannibal ‘Secondo’
“Hannibal’s origins become comparable to the Joker in The Dark Knight: there are possible explanations for why he is the way he is, but none of them seem to be wholly accurate…”
Review: Miroslav Slaboshpitsky’s ‘The Tribe’
“The film is nothing if not an audacious directorial debut; a grand, horrifying cinematic mission statement that might particularly appeal to the likes of Michael Haneke and, especially, Gaspar Noé.”
This House Is Not a Home: On John Cassavetes’ Troubled Families
An Essay by Phuong Le
Game of Thrones Recap: ‘Mother’s Mercy’
“Game of Thrones may disappear from the conversation for brief lulls, but it always returns with full force — it is doing something right.”
Summer of Darkness: Fritz Lang’s ‘M’ (1931)
“It’s going to be a #NoirSummer, and hopefully some of the world’s filmmakers are paying attention to the simple yet effective methods of their predecessors.”
Recap: Hannibal ‘Primavera’
“After the intense aesthetic focus of last week’s “Antipasto,” Hannibal’s shift in character focal point for this week’s “Primavera” brings with it a different thematic center: religion.”
We Failed This Film: Andrew Dominik’s ‘The Assassination of Jesse James by the Coward Robert Ford’
We Failed This Film is a series about various films that simply didn’t get the love that they deserved upon initial release.
Review: Sylvia Borges’ ‘Rendezvous’
“Through a series of seemingly sensual vignettes, the director hides the passion that her protagonist so desperately wants, and its this absence of feeling that unveils a misguided and disillusioned woman.”
Recap: Game of Thrones ‘The Dance of Dragons’
“Now in its fifth season, Game of Thrones has long settled in the category of dread built on anticipation.”
The Theater of Fear: John Cassavetes’ ‘Opening Night’
“Throughout ‘Opening Night,’ reality and make-believe are interwoven into a mass of chaos.”
‘Sense8’ Review: The Human Stories of Netflix’s Sci-Fi Drama Make for a Strong Start
“The latest Netflix original series, Sense8, throws a lot at the viewer in its premiere episode with an overarching science fiction arc and eight powerful human stories, but somehow the Wachowskis pull it off.”