Sam Raimi's Evil Dead II is the culmination of a childhood dream realized—one man’s flaws transmuted into super powers, an idealized vision of heroism in the face of unspeakable evil.
Jim Jarmusch’s Ghost Dog: The Way of the Samurai is a movie I would like all translators, and their readers, to watch.
William Klein's little-seen, hard-to-find documentary, The Little Richard Story, is a film about how wooo’s can make the man.
Michael Mann is at the peak of a digital filmmaking flex with Blackhat. The high definition images create such a complete depth of field that his characters cannot help but appear lost, similar to how we found ourselves cut adrift amidst the unfettered access and context collapse offered by the modern web.
There’s something special about taking part in a treasure hunt at the heart of a hidden gem of a festival. True/False Film Festival feels special because it’s so intimate, populated by cinephiles who love the underestimated and misunderstood genre of documentary features.
Skinamarink presents a case of found memory, the scratches and wear of time on one’s recollection disfiguring—yet never wholly obscuring—foundational apprehensions.
Through the care and tending of bees, Honeyland reminds us of the sweet yet tenuous power of planting generosity and nurturing relationships, even (and especially) in the face of great fear.
Desert Hearts may not be a holiday movie, but it is wrapped in a lavender ribbon, and what’s inside can warm up even the chilliest winter heart.
The Hours suggested to me that queerness could be fluid, mysterious, neither hidden nor announced.
In 2017, I saw or listened to the movie Steve Jobs some 20 or 30 times.
On this very special episode of the pod, Veronica sits down with beloved critic Fran Hoepfner to talk highlights of the 60th New York Film Festival, which they both attended last month, including Tar, Triangle of Sadness, Armageddon Time, All the Beauty and the Bloodshed, Decision to Leave, Stars at Noon, Showing Up, and more.
That so many of the films at the New York Film Festival this year focused on ugly and stressful subjects feels not like a demerit, but rather a catharsis—a healing that can only be done in a dark room, surrounded by others.
