Monthly Archives: August 2012

Cosmopolis (David Cronenberg, 2012)

David Cronenberg made his name with the “body-horror” genre, one which he practically invented. Still, even after decades of his “weird” films garnering critical acclaim and a cult fanbase, Cronenberg decided to tread new ground with the 21st century, alienating some longtime fans but also bringing forth a new group with twin Viggo Mortensen-starring gangster […]

Trainspotting (Danny Boyle, 1996)

“Just one last hit.” Mark Renton (Ewan McGregor) says that it’s all he needs several times throughout Trainspotting, but he is talking about heroin, so you know that there is never “one last hit.” As the story begins in medias res, Renton gives a monologue about all the things someone should choose in their life, […]

The Girlfriend Experience (Steven Soderbergh, 2009)

The Girlfriend Experience is only 76 minutes, so when you realize that you are going to need to watch it again, take solace in knowing that two views is only as much time as one fairly long movie. The first time, you will find yourself struggling to keep up with who our protagonist, an expensive […]

Kramer vs. Kramer (Robert Benton, 1979)

Generally liked upon release (but hated by Pauline Kael), Kramer vs. Kramer is probably best known today as the film that beat Apocalypse Now for the Best Picture Oscar. Indeed, Robert Benton’s divorce drama has not aged very well, and behind the structured ambiguity that allows viewers of all beliefs to find something to invest […]

Weekend (Andrew Haigh, 2011)

Two strangers are drawn to each other, but one of them has a place they absolutely must be within a day or so, but they let their romance bloom despite the visible end. It’s a common subject for the movies, and when it’s done well, the results can be quite stunning. Richard Linklater caught lightning […]

Unknown Pleasures (Jia Zhangke, 2002)

In my experience, watching a Jia Zhangke film is quite unlike watching any other filmmaker. With Platform (2000), The World (2004), and now Unknown Pleasures (actually released between the two), I see him in his own niche, somewhere definitely narrative but nonetheless containing a documentarian look and feel. They are intensely sociopolitical, and their neorealist […]

Sight & Sound, Part Three: Who is the Greatest Director?

Part one of this series, focusing on the perceived static nature of the list, is here. Part two, looking at the films that made the list, is here. NOTE: With the help of a couple readers, totals have been readjusted. Now that the Sight & Sound poll is out in all of its glory and […]