Steve Erickson
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.
“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.
“Bad Things” tries out a lot of ideas, many of them good, but a crisis in identity results in slapdash execution.
Despite its depressing worldview, “Werckmeister Harmonies” is an exhilarating work of art, full of moments of grace, beauty, and even humor.
It’s easy to mythologize “The Days of Wine and Roses” because this album documents a band whose lineup splintered almost immediately.
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.
Asteroid City is hard to pin down, largely because it holds its ideas about nostalgia and grief at arm’s length.
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.
There is little doubt that Joyland‘s subject matter is what drew international attention.
It features fine performances, but the comedy-drama, You Hurt My Feelings avoids placing too much on the line. It exists in a comfortable middle ground — nothing is ever taken to an extreme.
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