TIFF Review: Darren Aronofsky’s ‘The Whale’
“Fraser keeps Charlie’s fully formed humanity at the forefront of ‘The Whale,’ despite various filmmaking decisions that could flatten his character into a saccharine pity case.”
TIFF 2018 Review: Brady Corbet’s ‘Vox Lux’
“By being so lazy and aggressive with his judgment of pop culture, Corbet ends up making a film that is bland in its anger, annoying in its attacks and ridiculous in its contempt for its characters and audience.”
Could Jordan Peele’s ‘Get Out’ Break Horror’s Dry Spell at the Oscars?
“Art is a product of its time; is it Get Out’s fault that the time mostly resembles a horror production?”
Critics in Conversation: The Critic and the Actor
In the second part of a three-chapter conversation conducted over months via a large Google Doc, Manuela Lazic and Adam Nayman discuss acting and how film critics interpret performances.
Review: Darren Aronofsky’s ‘mother!’
“If ‘mother!’ lacks the refinement of a manifesto for a new breed of movie theater flick, it makes up for it in the audacity to be unique.”
When the Male Gaze Breaks: Between ‘The Neon Demon’ and ‘Black Swan’
“In Darren Aronofsky’s ‘Black Swan’ and Nicolas Winding Refn’s ‘The Neon Demon,’ the female body is used in its most delicate and presumptuously feminine form.”
The Serious Camp of Natalie Portman
“Reviews may be breathlessly overusing the ready-made formulation of ‘Natalie Portman IS Jackie,’ but they really should be following Sontag’s lead: Natalie Portman IS ‘Jackie.'”
We Failed This Film: Darren Aronofsky’s ‘The Fountain’ (2006)
A Series by Dylan Moses Griffin
The Feminine Grotesque #4: Madness, Thy Name Is Eve
A Series by Angelica Jade Bastién