Film
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.
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.
Daniel Raim’s Fiddler’s Journey to The Big Screen is a terrific documentary about the creation of the titular film.
This Afrofuturist cyberpunk musical is a sprawling political manifesto poetically transcribed into a visual symphony of music and images.
The script is credited to five writers and, well, too many cooks spoil the bouillon.
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.
Hellbender is not just a fabulous indie film about witches, it’s also an original coming-of-age horror movie.
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.
David Lynch’s Inland Empire is a provocative challenge to filmmaking as a medium of visual storytelling that’s largely gone unmatched in the sixteen years since its initial release.
Film Commentary: Three Amazing Movies Turn 50
A terrifically significant, and eccentric, trio of films are turning 50 this year: Marjoe, Pink Flamingos, and Silent Running.
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