Nicole Veneto
True to its name, “Nirvanna the Band The Movie” is bigger and crazier than anything Matt Johnson and Jay McCarrol have ever conceived of, a feat of gonzo filmmaking that would make Werner Herzog sweat.
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Besides Chainsaw Man’s abundant visual pleasures and uncompromising blend of ultra-violence and adolescent sexuality, one of its particular draws is that it’s a cinephile’s anime.
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It’s up to us to champion films like “Boys Go to Jupiter,” which push the medium into exciting new territory when AI slop is literally banging at the door.
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What sets “Weapons” apart from other films utilizing a puzzle-box approach is Zach Cregger’s command of tone, a byproduct of honing his skills in sketch comedy.
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In a film that maintains a deft, tightrope balance of tone, writer-director-star Eva Victor has delivered an acerbically funny depiction of how we learn to cope in a world where bad things can (and often do) happen.
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In this film, Alexis Langlois suggests that the diva worship so central to queer cultural production has found new toxicity thanks to social media, where we all feel entitled to a piece of our idols.
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Annapurna Sriram’s “Fucktoys” is poised for cult greatness among queer cinephiles, filthy femmes, and those of us who find today’s movie landscape frighteningly sex averse.
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If you think the world’s gotten a lot colder in the last couple years, you’re not alone. Director David Cronenberg feels it too.
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We return to my coverage of the 25th annual Boston Underground Film Festival, our own little local celebration of oddballs, freaks, and celluloid weirdos of all sorts.
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Considering the current political climate and its accompanying cultural backlashes, BUFF’s (continued) commitment to diversity in film feels especially pointed in its 25th incarnation.
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Arts Remembrance: Tribute to Jazz Producer Alex Lemski