Nicole Veneto
Why bother giving big-budget Hollywood projects to up-and-coming Black filmmakers if they’re just going to be neutered and cut to shit before release?
Evangelion is my personal Rosetta Stone, allowing me to decipher everything from psychoanalytic theory and gender relations to my very own understanding of trauma and the world in which I inhabit.
Though it’s classified as a comedy, Shiva Baby utilizes many of the stylistic trademarks found throughout the horror genre to merge painfully humorous discomfort with suffocatingly atmospheric terror.
1971 gave us bursts of magnificent cinematic iconoclasm that had no future — culturally or politically.
Violation utilizes extreme violence not to revel in a revenge fantasy but to deconstruct the genre’s militantly feminist appeal — “kill your rapist” — as a self-destructive endeavor offering no catharsis whatsoever.
Come True squanders all of its narrative potential in favor of an awkward and poorly developed romance and a “twist” ending even M. Night Shyamalan would scoff at.
Jumbo is one of the most magically affecting and visually enthralling romances I’ve seen in quite some time
“Everybody in this industry right now is looking for like, female beards to rescue them, but that’s not what we’re here for.”
I Blame Society may put off some enlightened neoliberals, but it is a fun little B-movie with killer insight and attitude to spare.
Film Feature: A Dispatch from Boston’s Last Video Rental Store
“If you really like something and want to make sure you have access to everything, you’ll never do better than having the disc.”
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