Review: Nicholas Brennan’s ‘Los Ultimos Frikis’
“Nicholas Brennan’s film makes a hugely convincing argument for following your dreams at all costs.”
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Review: Bong Joon-ho’s ‘Parasite’
“‘Parasite’ takes a left turn that’s so hard yet so appropriate that it’s like watching a spectacularly executed high wire act.”
Berlinale 2019 Review: Rob Garver’s ‘What She Said: The Art of Pauline Kael’
“Garver doesn’t really provide more than an overview, but perhaps that will indeed bring new eyes to some great American writing.”
This Is Not a Book Review: On William Brown’s ‘Non-Cinema: Global Digital Film-making and the Multitude’
Yoana Pavlova on William Brown’s ‘Non-Cinema: Global Digital Film-making and the Multitude’
Coffee and Cinephilia: A Conversation with J. Hoberman
Alejandra Rosenberg Interviews J. Hoberman
In ‘Moonlight,’ Black Is the Warmest Color
“Not only does it feel true to its origins, but it also speaks to viewers from different parts of the world.”
Why Criticism: Adam Nayman’s ‘Ben Wheatley: Confusion and Carnage’
A Column on Film Criticism by Justine A. Smith
Why Criticism: The Simple Joys of Food and Film
A Column on Film Criticism by Justine A. Smith
Why Criticism: Éric Rohmer’s ‘Louis Lumière’ (1968) or Dinner Among Friends
A Column on Film Criticism by Justine A. Smith
Why Criticism: Horror’s Fight for Respect
A Column on Film Criticism by Justine A. Smith
