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 […]

Hirokazu Koreeda’s Like Father, Like Son does exactly what you know it will, although for about 80 minutes, that isn’t always a bad thing. Several scenes find themselves relying on montage and small details to transform the mundane into the cinematic. Two families, the richer Nonomiya’s, headed by the somewhat neglectful but hard-working Ryota, and […]

Nobody in Hollywood can direct a movie like Martin Scorsese, who has made one of his very best with The Wolf of Wall Street. His camera effortlessly soars across crowded rooms, glides through corridors before stopping and following its chosen subject, effortlessly enters and exits the diegesis, and does it all without ever drawing too […]

A handful of critically acclaimed, awards-nominated, and highly visible LGBT films have enjoyed some level of prominence over the past few years, such as Andrew Haigh’s excellent Weekend, Ira Sachs’ Independent Spirit Award-nominated Keep The Lights On, and Steven Soderbergh’s Emmy and Golden Globe winning Behind The Candelabra, but all of them shied away from […]