Film
“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.
The horndog plot of this wild comedy: two unpopular queer high school students start a fight club to have sex before graduation
Three gruesome films by debut directors put the horror back in vacui.
“Bad Things” tries out a lot of ideas, many of them good, but a crisis in identity results in slapdash execution.
Billed as a queer woman’s spin on “The Shining,” “Bad Things” is a much more entertaining film in concept than it is in execution.
The fact is that “Love in Taipei”’s appeal principally lies in Taipei itself: the film doubles as an extended advertisement for the city.
Despite its depressing worldview, “Werckmeister Harmonies” is an exhilarating work of art, full of moments of grace, beauty, and even humor.
Sanitized as it is, “Red, White & Royal Blue” is a sign of progress — a queer rom-com has finally entered the fairy-tale film canon.
William Friedkin’s “The Exorcist” stands, 50 years on, as a primer on how to lure viewers in with striking, haunting imagery as a prelude to a previously unimaginable cinematic journey.
Film Commentary: The Heights and Depths, the Rise and Fall, of Hitchcock’s “Vertigo”
In the end, what strikes me most about “Vertigo” is its melancholy, its aura of grief, its mood of inevitable, irredeemable loss.
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