Why Criticism: Can Film Criticism and Awards Season Co-Exist?
“Many of us may miss the drama of awards season, but there are untold benefits to criticism if it continues to evolve away from its current state.”
Why Criticism: Chasing Restorations, from Wong Kar-Wai to Wonder Woman
“The total dominance of our digital cinema platforms has forced cinephiles to reckon with their own assumptions and understanding of the medium.”
Why Criticism: A Guide to Making Up Your Own Mind
“Film criticism is so vital not because it’s a service, but because it’s a tool — a way for each person to arrive at the final word on each film they see from the critic that matters most: themselves.”
Why Criticism: Film as a Business First
“Film criticism unable to confront film’s relationship to business is destined to fail and will continue to reproduce the same tired critiques of cinema.”
Why Criticism: Against Nostalgia
“More than ever, it is crucial to contemplate what this nostalgia phenomenon means for the future of the arts and our discomfort with the new. Will there be a ‘new’ in the new world?”
Why Criticism: Dismantling the Boys’ Club in Horror
“The main reason I write about horror movies, aside from having a deep and abiding love for them, is that I have a perspective unique to me. But, for certain men, that’s not enough.”
Why Criticism: Brian De Palma and Film as Film Criticism
“If the point of criticism is to bring the reader closer to the artwork, then Schrader’s reviews of other films are as important as his own to understanding his perspective.”
Why Criticism: You Can’t Take the “Film” Out of Film Criticism
“Over time, a film critic should be able to engage with cinema in an all-encompassing manner, acknowledging the interior and exterior forces of what makes a movie…”
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
Why Criticism: Defining New Cinema at FNC 2016
“In search of new worlds and experiences, this year’s FNC has been a journey from the physical world to the metaphysical.”
Why Criticism: The Tale of the Festival Film
A Column on Film Criticism by Justine A. Smith
Why Criticism: Writing About What You Don’t Know
A Column on Film Criticism by Justine A. Smith
Why Criticism: Queer Film Classics and ‘Forbidden Love’
A Column on Film Criticism by Justine A. Smith
Why Criticism: Joan Didion, John Wayne and Personal Brands
A Column on Film Criticism by Justine A. Smith