Trapped in the Bed Frame: On Marco Bellocchio’s ‘Devil in the Flesh’
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
“Bellocchio’s 1986 film ‘Devil in the Flesh’ is perfectly representative of the great Italian director’s outlook.”
Author Joseph B. Atkins on Filmmaker Monte Hellman’s Life and Career
“Plenty of double-themed movies have been made over the years, but ‘Ride or Die’ seems like an ideal companion piece to ‘Persona.’ Both films are sexually provocative, and both require multiple viewings to better understand the perspectives of each female protagonist.”
“‘Bridget Jones’s Diary’ is heartbreaking and life-affirming in equal measure, which is a difficult balance to pull off, particularly in a movie that frequently treats its protagonist quite harshly.”
“‘No Hard Feelings’ takes queerness as a given, capturing queer joy onscreen while never losing sight of the stark realities of migrants seeking refuge in a still highly xenophobic Europe.”
“The way ‘Sweetheart’ approaches the topic of AJ’s sexuality isn’t groundbreaking, but in a world where queer coming of age stories are still defined by the “coming out” part, it feels refreshing all the same.”
“For a debut feature, ‘Kiss Me Before It Blows Up’ is a bold and assertive movie that nails a few funny moments, but it would’ve benefitted from a more nuanced exploration of its complex subject matter.”
“Looking back on early-2000s fare, ‘Get Over It’ stands out as smarter, sweeter, funnier and weirder than many of its contemporaries…”
“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.”
“One of the great pleasures of watching any Almodóvar film, but especially ‘Julieta,’ is studying its expressionistic textures…”
“‘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.”
“‘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.”
Dominic Erickson Interviews ‘The Nest’ Director Sean Durkin
“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.”
“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.”
“‘Rebecca’ feels sanded out, erased of all imperfection, identity and mystery.”
“Coppola has always shown an affinity for mixing laughter and introspection, and ‘On the Rocks’ successfully deploys the strategy.”
“There’s a dark warning at the heart of ‘Blood on the Moon’ that still rings true today.”
“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.”
“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.”