It's not only a spectacular use of cinema to render the spirit of Jackson's work, it's an angry, elegiac rendering of female psychology.
Posted Jun 14, 2020
It's a study in female relationships, their complexity, and the centralizing of female desire, couched in the form of a complex gothic melodrama that prizes women above all else.
Posted Jun 4, 2020
The Third Strike (2020)
Jones crafts a stirring narrative of women fighting against an unjust justice system that punishes minorities for relatively minor offenses and creates a cascade of suffering for past and future generations.
Posted May 8, 2020
The real attraction here is Lombard, wonderful as she plays basically a dual role. It does make one wish she had done a few more horror films to round out her oeuvre.
Posted Apr 19, 2020
The Song of Songs (1933)
The Song of Songs isn't a perfect film by any stretch, and at times its gender relations are extraordinarily problematic, but it does give insight into Dietrich's range, the humor underlying some of her persona, and the nuance underlying her image.
Posted Mar 25, 2020
The Invisible Man (2020)
The Invisible Man works as the retelling of a classic monster, channeling the energy of that bygone age into something relevant to our modern era.
Posted Mar 9, 2020
Man in the Shadow (1957)
The starkness of the narrative is part of what makes it so powerful - this is a story of corruption and the way in which the powerful exploit racism and wealth to control the narrative.
Posted Feb 28, 2020
If you want to understand the essence of women under patriarchy, in its starkest, funniest, and most extreme, see Birds of Prey, and emancipate the Harley within.
Posted Feb 13, 2020
Gretel & Hansel (2020)
Gretel & Hansel comes off as a failed but honest attempt to do something new with a well-worn fairy tale - a gorgeous piece of art coupled with an interesting idea that just doesn't quite work. I
Posted Feb 5, 2020
Color Out of Space (2020)
Color Out of Space is a niche narrative, so fundamentally Lovecraftian that, if you like his work, you'll enjoy this, and if you don't like it...well, you might actually be interested after this one.
Posted Jan 21, 2020
High Flying Bird (2019)
The script is fantastic... It plays almost like an Ocean's 11 movie.
Posted Dec 10, 2019
The Irishman (2019)
It is the banality of violence, the sense that Frank, and others like him, are just working men doing a job, that makes The Irishman so haunting, and that plays out the character's ultimate lack of emotional or spiritual redemption.
Posted Dec 4, 2019
Charlie's Angels (2019)
While not a perfect film, even in its feminism, Charlie's Angels is a fantastic example of women retaking the means of production and using iconic images, crafted by men, against patriarchal structures.
Posted Nov 18, 2019
Jojo Rabbit (2019)
Jojo Rabbit is told in a way that could only be done by Taika Waititi, and has become one of the most misunderstood films of the year.
Posted Nov 10, 2019
The Lighthouse (2019)
How much The Lighthouse works or doesn't depends entirely on your perspective; there's perhaps no film currently in theaters that so catalyzes the subjectivity of art.
Posted Oct 29, 2019
Isle of the Dead (1945)
There's no clear villain or monster in Isle of the Dead; rather, fear and developing paranoia drive the narrative, transforming the people on the island as they cope with their nearness to death and the causes of it.
Posted Oct 10, 2019
A magical realist love story (with ghosts), Atlantics folds in a sharp meditation on worker exploitation with a lyrical narrative of love, power, and physical possession.
Posted Oct 8, 2019
Much like the Joker himself, Joaquin Phoenix is a performance artist who uses audacity and shock as substitutes for depth.
Posted Oct 5, 2019
Parasite (Gisaengchung) (2019)
By turns hilarious, harrowing, and horrifying, Parasite may well be Bong Joon-ho's best film since Memories of Murder.
Posted Oct 3, 2019
Pain and Glory is a great director's rumination on the act of making art in itself - what stops an artist from working, and how to rediscover the glory of filmmaking.
Posted Oct 2, 2019
Writer/director Celine Sciamma has created something truly remarkable, a cinematic masterpiece that needs to be seen multiple times, but that in even a single viewing sounds an emotional vibrato deep within the viewer.
Posted Sep 30, 2019
Not Wanted (1949)
Not Wanted effectively exposes women's internalization of shame surrounding sex and motherhood-to Sally, the baby is a proof of her shame, a physical manifestation of her social rejection, and the rejection of a man who did not love her.
Posted Sep 25, 2019
Human Capital (2020)
Human Capital is made by its performances, but its performances expose how banal the structure and plot are at base ... There's something missing to elevate it beyond an entertaining, well-directed film about relatively unpleasant rich people.
Posted Sep 13, 2019
Above all, Grit reminds us that, in the face of environmental disaster and apparent government indifference, there is a future worth fighting for.
Posted Sep 9, 2019
It Chapter Two (2019)
As good a sequel as we ever could have hoped after the heights reached by its predecessor
Posted Sep 9, 2019
It's almost as though Hitchcock is having us all on, deliberately testing his audience's willingness to continue watching filmed play about people who cannot stop acting like their life is a theatrical construction.
Posted Aug 29, 2019
Ready or Not (2019)
Ready or Not is deeply critical of the class structure not just in terms of the power and privilege of the wealthy, but in how that power and privilege is both imposed on and supported by the lower classes.
Posted Aug 27, 2019
Blackmail incorporates some of Hitchcock's most complex, nastiest themes, digging deep into the psychological nature of trauma and drawing justice, personal autonomy, gendered expectations, and misogyny into question.
Posted Aug 22, 2019
The Kitchen (2019)
Andrea Berloff creates a film that's fun, affecting, and intense.
Posted Aug 7, 2019
There's great satisfaction and hope in Darlin', but it comes in forms you might not expect.
Posted Jul 31, 2019
Love, Antosha (2019)
Love, Antosha isn't a sad film...but instead is meant to inspire, uplift, and ultimately prove that Yelchin was better than anybody could have dreamed of.
Posted Jul 29, 2019
Stare (Shirai-san) (2020)
Stare has all the makings of an excellent J-horror, even if it does drag in places and reinvents its own rules too many times. It may ultimately only pay off as a minor entry into the genre, but it's an entertaining one all the same.
Posted Jul 25, 2019
The Father's Shadow is a meticulously crafted work of magical realism, embedded in its culture and ethos. It's the work of another intelligent, complex female director whose work will be fascinating to watch develop.
Posted Jul 24, 2019
Extra Ordinary (2020)
Extra Ordinary is a funny, bizarre Irish Ghostbusters, in the best possible way. It reinvigorates the flagging horror-comedy genre by providing funny and occasionally terrifying twists on common tropes.
Posted Jul 24, 2019
This near-three-hour opus is a wandering mess of half-though ideas and interests.
Posted Jul 24, 2019
The Deeper You Dig (2019)
This is a small film that deeply deserves an audience, as accomplished and thematically vibrant as any big budget horror you can find today, and far more conversant with the thin divide between spirituality and the supernatural than most.
Posted Jul 18, 2019
Nakata finds some tension and horror, but this latest film feels too much like a retread of Ringu and even, in places, Dark Water. Dare I say that the poor wraith deserved a little better than this?
Posted Jul 18, 2019
With hype so high the only way is down and Midsommar (that's mid-so-MAR) hits the wall with a fizzle, not a bang.
Posted Jun 29, 2019
The Decline of Western Civilization remains an essential documentary and one fantastically weird slice of life.
Posted Jun 26, 2019
[Claire] McCarthey and screenwriter Semi Chellas go above and beyond, crafting a true feminist interpretation of Ophelia that provokes your thoughts.
Posted Jun 24, 2019
Child's Play (2019)
This goes up there with the reboot of Poltergeist and Pet Sematary as features you won't remember were remade in a few years.
Posted Jun 21, 2019
Late Night (2019)
Late Night posits that inclusivity and diversity make the world, and comedy, a better, funnier place for everyone. The butt of the joke is not men, but patriarchy, and in mocking patriarchal norms it rejects any "us vs. them" mentality.
Posted Jun 20, 2019
My Name Is Julia Ross (1945)
The film's tension stems not from whether or not Julia will ultimately believe the lies, but how she will manage to extricate herself from her situation. Far from a passive waif, she remains in control of herself throughout.
Posted Jun 18, 2019
Craig's Wife (1936)
Harriet Craig is not formed by her past but by her culture, fulfilling the requisite role of the housewife to a degree that turns her into a monster of patriarchy's own making.
Posted Jun 18, 2019
Premature is an intense and lyrical film, as much in love with the images of Harlem as it is with the music that Isaiah produces and the poetry Ayanna writes.
Posted Jun 14, 2019
The Farewell (2019)
The Farewell exhibits a well-balanced combination of humor and sorrow, of family gatherings with plenteous food, joy, and old animosities that ebb and flow and sometimes pass by the younger generation.
Posted Jun 4, 2019
The Vampire Lovers (1970)
The Vampire Lovers has within it a sense of freedom and transgression in its frank depiction of female desire outside of male control. That the film finally reins in that desire doesn't make it any the less potent.
Posted May 30, 2019
Ladies in Black (2018)
It's a film whose cast is utterly sweet and lovely to look at even if the movie feels incredibly thin.
Posted May 29, 2019
Echo In the Canyon (2019)
Echo in the Canyon truly sings!
Posted May 17, 2019
Ask for Jane (2019)
The story demands to be told and seen by the widest audiences possible.
Posted May 13, 2019