Steve Erickson
“Concrete Utopia” echoes “Parasite”’s sharp critique of class exploitation, but it applies a faster pace and more restless energy to its vision of economic meltdown.
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The cultural critic’s wrestling with the compromises that the pleasures of mass culture inevitably demand is heartfelt. In a word, it’s normal.
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The unpleasantness of the film’s first sex scene turns out to be a foreshadowing of a refreshingly curdled vision of insecurity in the 21st century.
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“The Mother and the Whore” is a film about failure: its characters are pushed towards misery not only by their own flaws, but by the failure of the ‘60s to deliver a promised revolution.
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“Bad Things” tries out a lot of ideas, many of them good, but a crisis in identity results in slapdash execution.
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Despite its depressing worldview, “Werckmeister Harmonies” is an exhilarating work of art, full of moments of grace, beauty, and even humor.
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It’s easy to mythologize “The Days of Wine and Roses” because this album documents a band whose lineup splintered almost immediately.
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Despite the fragmented nature of the protagonist’s memories, everything comes together in Revoir Paris. It is as though her life was a puzzle to be solved.
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Asteroid City is hard to pin down, largely because it holds its ideas about nostalgia and grief at arm’s length.
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Wildly imperfect but intriguingly ambiguous, the film’s flaws and contradictions are a virtue because its purported saintly hero is so hard to pin down.
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