Denis Villeneuve’s Dune is a self-fulfilling prophecy that undoes itself in the telling, an ouroboros regurgitating its own tail rather than eating it.
On watching Richard Linklater's Everybody Wants Some!!
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.
In Matewan, John Sayles creates a compelling narrative that still evokes a sense of truth.
In the Wachowskis’ earnest work, Speed Racer valorizes a supportive family—especially one so cobbled-together—just as much as it celebrates acts of love and a true love of art.
For months I’ve been thinking about sequels and second chances, about Paul Newman but also, increasingly, Tom Cruise.
The Hours suggested to me that queerness could be fluid, mysterious, neither hidden nor announced.
Come for the homoerotic subtext, stay for the shirtless saxophonist.
The relationship between Black American iconoclasm and French noir stylings highlights the contagious nature of social criticism itself, and the immensely broad potential for art and cinema to unite disparate but like-minded cultures.
Crimson Peak: The Art of Darkness offers delicious insights into the making of the film, and more than a few glimpses of how director Guillermo del Toro invests himself in every note of it.
An Unmarried Woman, 20th Century Women, Freaks & Geeks, and the malaise of being an American woman during the Carter era.
The Green Knight seeks not simply to retell or reimagine the poem’s story, but to interrogate or cross-examine the poem itself: to cast a shadow of postmodern skepticism over the original telling, and indeed all of Arthuriana.
