By Elias Savada. An incredibly overproduced, over-CGI’ed Universal release.” Even before its release, rumors were frantically flying all over the internet that the only recently published “inspired by” source novel (released January 9th) for Argylle (released February 2nd), the latest film from producer-director-writer Matthew Vaughn, was written not by Elly […]
Small Town, Big Drama: DK and Hugh Welchman’s The Peasants (2023)
By Jenny Paola Ortega Castillo. DK and Hugh Welchman’s film, which recreates frames as oil paintings, is a captivating portrayal of the darker and most unsettling aspects of human nature, such as oppressive patriarchy, small-minded shared beliefs, selfishness, narcissism and jealous behavior within the constraints of a small community.” People […]
Don’t Look Away: Stephen Gerard Kelly and Garry Keane’s In the Shadow of Beirut (2023)
By Thomas M. Puhr. What emerges is a record of a people that is unwaveringly empathetic in its portrayal but incomplete in terms of either interrogating its position as a historical artifact or providing cultural context.” The poor Lebanese neighborhoods of Sabra and Shatila are the subject of Stephen Gerard […]
Tom DeLonge Wants You to Believe: Monsters of California (2023)
By Jonathan Monovich. Despite its imperfections as an introductory feature film, fans of the sci-fi, horror, and adventure genres will walk away with a smile and will want to believe.” “We all know conspiracies are dumb.” Knowing his extraterrestrial obsessions, it’s a lyric sung ironically by Blink-182’s Tom DeLonge in […]
Not a Creature was Stirring, Not Even a Demon: Jenn Wexler’s The Sacrifice Game (2023)
By Thomas M. Puhr. Maybe I was too harsh toward last year’s Violent Night after all; at least that one seemed to enjoy its own company.” If you saw The Holdovers (2023) and wondered, “What if this were a horror movie, and not good?” then The Sacrifice Game (2023) might be for you. In […]
More “Dead Men and Broken Hearts”: Liminal Noir in Classical World Cinema
A Book Review by Dávid Szőke. While acknowledging the broadening of the debated canon, this volume, edited by Elyce Rae Helford and Christopher Weedman, focuses on how liminality extends beyond physical spaces, emphasizing the fragmented psychological and social realms onscreen after the war.” “Dead men are heavier than broken hearts,” […]
Say Goodbye to Hollywood: John Schlesinger’s The Day of the Locust (1975)
By Jeremy Carr. There has never been a self-referential Hollywood feature quite like 1975’s The Day of the Locust, a twisting and twisted tale of sullied lives, desperation, and, ultimately, sheer madness.” Hollywood has always been rather good at building itself up, generating films that flaunt the glamour of Tinseltown, […]
Cinematic Healing: Fallen Leaves (Kuolleet lehdet)
By Jonathan Monovich. Fallen Leaves implies that cinema, and the love that it fosters, saves lives.” In Ingmar Bergman’s Through a Glass Darkly (1961), it is said that when the thought of love and God being the same is made “suddenly the emptiness turns into abundance, and despair into life. […]
Florid in a Good Way: Herbert Brenon’s The Spanish Dancer (1923)
By Thomas Gladysz. With a range of pictures to his credit – fantasies, adventure films, melodramas, historical epics – there are those who feel Brenon was a director without a defined, or at least a dynamic, style. There is truth to that assertion…. Adaptability, however, shouldn’t detract from an appreciation […]
A Queer Artist Hiding in Plain Sight – Counter Gravity: The Films of Heinz Emigholz
A Book Review by Rastko Novakovic. A fascinating record of the depth of Heinz Emigholz’s cinematic engagement and the evolving critical reception of it.” Heinz Emigholz started in the structuralist vein with the Shenec-Tady trilogy (1972-75): intricate, silent, mathematically composed studies of landscape. Those who know these films will be […]