Put Your Hand Down, Little Steve: ‘Get Over It’ at 20
“Looking back on early-2000s fare, ‘Get Over It’ stands out as smarter, sweeter, funnier and weirder than many of its contemporaries…”
Glasgow Film Festival Review: Lili Horvát’s ‘Preparations to Be Together for an Unknown Period of Time’
“It’s a delight to watch Stork think in ‘Preparations to Be Together for an Unknown Period of Time.’ Her cogitations are signaled by the darting actions of her piercing blue eyes, the slight flex of an eyebrow or the raising of a subtle and pursed smirk.”
Director on the Verge of Change: The Controlled Chaos of Pedro Almodóvar’s ‘Julieta’
“One of the great pleasures of watching any Almodóvar film, but especially ‘Julieta,’ is studying its expressionistic textures…”
IFFR Review: Hung-I Chen and Muni Wei’s ‘As We Like It’
“‘As We Like It’ is a film that makes many unique moments out of its childish buffoonery, and it’s lifted, like its characters, into a class of its own.”
Revelation as Retroactive in ‘Southland Tales’ and ‘Kaboom’
“‘Southland Tales’ and ‘Kaboom’ aren’t defined BY their end-of-days narratives, as their apocalypses define the contents through the fulfillment of apocalyptic revelations.”
An Interview with ‘The Nest’ Director Sean Durkin
Dominic Erickson Interviews ‘The Nest’ Director Sean Durkin
Review: Keith Bearden’s ‘Antarctica’
“The cold numbness of ‘Antarctica’ perfectly encapsulates the constant physical and emotional hardship faced not just by the current teen generation, but girls in particular.”
Review: Sean Durkin’s ‘The Nest’
“Nothing presented in ‘The Nest’ will radically alter the viewer’s perception of the family unit, marriage or even greed, but Durkin’s film suggests that is indeed the point.”
Ben Wheatley’s ‘Rebecca’: There’s Nothing Behind the Wallpaper
“‘Rebecca’ feels sanded out, erased of all imperfection, identity and mystery.”
Review: Sofia Coppola’s ‘On the Rocks’
“Coppola has always shown an affinity for mixing laughter and introspection, and ‘On the Rocks’ successfully deploys the strategy.”
Have None, Will Travel: The Villainy of Economics in ‘Blood on the Moon’
“There’s a dark warning at the heart of ‘Blood on the Moon’ that still rings true today.”
Romantic Horror in ‘The Phantom of the Opera’ Movie Adaptations
“The six major theatrical adaptations of Phantom’s story cover a wide realm of romantic horror, fully exploiting the themes and concepts within the character.”
London Film Festival Review: Francis Lee’s ‘Ammonite’
“Lee has, over his two films so far, proven a dab hand at teasing out unexpressed, furtive desires, depicting both the visceral emotions and gritty physicality of same-sex romance with empathy and an understated artistic flair.”
London Film Festival Review: Harry Macqueen’s ‘Supernova’
“‘Supernova’ is a film that many will cherish if audiences can be absorbed by the overt metaphors and can look beyond the Rich White Male vantage point.”
London Film Festival Review: Jennifer Sheridan’s ‘Rose’
“Many British micro-productions focus on Britain’s mud. ‘Rose’ shows us the frost.”
The Gothic Splendour of Alfred Hitchcock’s ‘Rebecca’
“Rebecca’s greatness stems from its faithful approach to the Gothic roots of du Maurier’s novel, foregrounding all of the most important themes like repression of the past and marriages full of conflict.”
Memories of Place in Sofia Coppola’s ‘The Virgin Suicides’
“Although the events in ‘The Virgin Suicides’ may not be presented through an innately nostalgic lens, they become a binding source of nostalgia by viewing the film 20 years after its initial wide release.”
Take This Leap: Revisiting the Optimism of ‘Joe Versus the Volcano’
“‘Joe Versus the Volcano’ is as thoughtful and sensitive as it is goofy. It brims with the sort of amazement that can reawaken forgotten feelings, and resuscitate a heart clogged by ennui.”
Dreams and Horrors in Bohemia: ‘Marketa Lazarová’ and ‘Valerie and Her Week of Wonders’
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
‘But I’m a Cheerleader’: Celebrating 20 Years of Style and Sincerity
“In cinema, it’s tough to depict sincerity without it coming across as contrived or sickly-sweet, but it’s a feeling that myself and many others yearn for, especially when it comes together as beautifully as it does in ‘But I’m a Cheerleader.'”