The Color Wheel is precisely the kind of movie I normally hate. Depending on who you ask, it could be termed “mumblecore,” although the meaning of that word seems to differ from person to person. The kind of movie and story in general of which I speak, is oft-repeated by New York artists, a story […]

EDIT: Pardon the rambling nature of this one, as it was more an exercise in trying to discern the film’s ideology than a review so to speak. In any case, I figured it might be of interest to others, so here it is: Coming back to Antichrist a couple years and more than half a […]

Going into Heli, the one thing I had heard repeatedly is that it is very hard to watch. Reports of its difficulty have been greatly exaggerated. There are a small handful of violent scenes, but with the exception of two, all are well within the realm of what anybody who watches R rated films would […]

It’s the late evening, and Ivan Locke (Tom Hardy) should be getting ready for one of the largest concrete pours in European history, but instead, he is in his car on the expressway to London to be with a woman he hardly knows as she gives birth to his child. Locke is happily married with […]

Laura Mulvey, in spite of all her other great writing, will always be known for her 1975 essay “Visual Pleasure and Narrative Cinema,” a manifesto of sorts that moved film theory toward a psychoanalytic framework and declared that women in Hollywood Cinema were coded with “to-be-looked-at-ness,” an object of pleasure for male protagonists and male […]

Boogie Nights may borrow generously from Scorsese, Altman, Kalatozov, and others, but when borrowing is done this well, and touched up to fulfill the borrower’s own unique sensibilities, it’s hard to care. The first shot, which tracks from an exterior into a nightclub and then circles the room, briefly acquainting us with many of the […]

You can’t tell at first, but Andrzej Wajda’s Innocent Sorcerers slowly reveals itself to be cut from the same cloth as Alain Resnais’ Hiroshima Mon Amour, Roberto Rossellini’s Voyage to Italy and Richard Linklater’s Before Sunrise. Of those, Hiroshima Mon Amour is the closest resemblance, for Innocent Sorcerers has its own Nouvelle Vague sensibilities, from […]


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