Film
In the annals of Russian repression, The New Greatness Case was a display of government overkill — until the events of this year redefined overkill.
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If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
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Winner of seven Cesars, this mordant portrait of the corrupt Parisian press mid 19th century, along with the commodification of just about everything, speaks loudly to the internet era.
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Jurassic World: Dominion feels like Universal pureed every spec script for a Jurassic Park sequel ever sent to it by first-year film students. It’s narrative slurry. Like the pink slime used as filler in cheap burgers.
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Daniel Raim’s Fiddler’s Journey to The Big Screen is a terrific documentary about the creation of the titular film.
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This Afrofuturist cyberpunk musical is a sprawling political manifesto poetically transcribed into a visual symphony of music and images.
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The script is credited to five writers and, well, too many cooks spoil the bouillon.
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So what if the American empire is doing more and more poorly? All that matters is hopping in alongside Tom Cruise for a super-duper roller-coaster ride inside an F-18.
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Hellbender is not just a fabulous indie film about witches, it’s also an original coming-of-age horror movie.
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If the filmmakers are going to delve into the Jazz Fest vaults, how is it possible to show only a few seconds of Professor Longhair and nothing of James Booker, the Meters, the Neville Brothers? Not good.
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