“Perhaps the water from the beginning of the episode points more towards resurrection than forgiveness, and if the rest of the season is as strong as “Dolce,” one can only hope Hannibal’s fate will point in the same way.”
A Column by Max Bledstein
The Fifth Installment of Jaime Grijalba’s Series on Patrick Modiano
“A BBC Films production from the minds of Outnumbered, What We Did on Our Holiday often looks and feels like an extended sitcom episode rather than a film.”
“Don’t allow yourself to be fooled by the “reveals” of True Detective.”
Part 4 of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
“As the plot of Hannibal continues to move forward, it also won’t stop looking back.”
“An interesting, indie-minded horror, Creep’s simplicity adds to its effectiveness as a taught, jarring film.”
Part Two of a Series by Dylan Moses Griffin
“Charlie Manton (The Imitation Game) shows incredible promise as a filmmaker with Beneath Water, as the visual techniques and character staging project someone in command of their own personal style.”
“As a creative whole, the second episode of True Detective was darker than its predecessor, and Nic Pizzolatto’s blatant dialogue ensured that casual viewers would get the hint.”
“Billed as a comedy about sex, Josh Lawson’s The Little Death only manages to explore a small margin of the current sexual landscape.”
“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.”
“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.”
An Essay by Dylan Moses Griffin
An Essay by Phuong Le
“This is Los Angeles pulp fiction — not a mystical world of sky monsters and poetic speeches.”
“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.”
“Despite the well-worn territory and jumbled narrative, Dope is proof positive that Hollywood needs diversity and needs it NOW.”
“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.”