In Marielle Heller’s A Beautiful Day in the Neighborhood, Mr. Rogers enacts the opening costume-change ritual. There’s something mythic about the transformation, something primal. This is what Mr. Rogers does: he changes his outfit. And thus, he becomes Mr. Rogers.
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Ethan Warren has been contributing to Bright Wall/Dark Room since 2016. His first book, The Cinema of Paul Thomas Anderson: American Apocrypha, was published in April 2023 by Wallflower Books, a division of Columbia University Press. A member of the Boston Society of Film Critics, he lives on the south shore of Boston with his wife, Caitlin, and their children.
Annie Baker's first movie, Janet Planet, is a film so subtle it speaks in a whisper, but then, abruptly, it shouts.
It’s an exciting thought—Dylan the preternatural genius who can’t walk down the street without a brilliant song falling from his pockets. There’s a kernel of truth to it, of course, but is it effective drama? Or is Dylan a cipher at the center of his own story?
Miloš Forman’s Amadeus is the story of a rivalry, and it’s easiest to describe that feud as occurring between Salieri, the genteel craftsman, and Mozart, the buffoonish genius. But, more precisely, the feud is between Salieri and God, on whom he pins the blame for his torment.
While he wrote Magnolia, P.T. Anderson started to cry. And then he realized what he needed to do.
Bluey shows the world at its best. It’s not an impossible standard. It’s something to aspire to: basically perfect art about a world of realistically imperfect characters striving to be a little bit better one day at a time.
Like so many good Westerns, Howard Hawks's Rio Bravo feels like a novel I want to forever have a bookmark in: ready to pick up and enjoy, with a few passages left for next time.
The now of Joan Micklin Silver’s 1977 masterpiece Between the Lines is a major concern for the characters. What is this generation’s identity now, another decade into adulthood and another decade removed from the days in which they believed they might actually change the world?
C’mon C’mon isn’t necessarily about making the world as a whole comprehensible to a child. It’s about grappling with how comprehensible to make one key fact: his mom isn’t with him because his dad is having a manic episode.
Monte Hellman's The Shooting offers a clear and present microcosm for the world’s unknowable hostility.
In their myriad crime stories, the Coens have tended to take a fatalistic perspective. And then there is the strange case of Raising Arizona's H.I. McDunnough.
A movie as dense and deep as Adaptation offers a communal awakening, one that ideally leads to new insights on the human capacity for thought and emotion.












