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Issue 115: Best of 2022

January 2023

Tom Cruise in Top Gun: Maverick | Art by Tom Ralston

Maybe So, Sir, but Not Today: The Fragile Humanity of Top Gun: Maverick

Elizabeth Cantwell·
Issue 115: Best of 2022
Top Gun: Maverick is not, at its heart, a story about what one man can achieve. Instead, it's an exploration of whether Man even matters.
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“Do You Wanna Feel How It Feels?”

Ursula Munoz-Schaefer·
Issue 115: Best of 2022
While Stranger Things has always depicted the frustration of dealing with the baggage left behind by a previous generation, the fourth season is particularly exceptional in how it explores collective trauma.
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Episode #21: Aftersun (2022)

Bright Wall/Dark Room·
Issue 115: Best of 2022Podcast
For our annual fashionably late “Best Of” issue, we’re looking at a 2022 highlight: Charlotte Wells’s staggering debut feature Aftersun, with film critic, author, and educator Adam Nayman.
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The Christiean Architecture of Rian Johnson’s Glass Onion

Justin Hairston·
Issue 115: Best of 2022
Glass Onion: A Knives Out Mystery, takes the classic structures of a Christie caper and levels them up, building an impossibly polyhedral monument to all that a mystery can be.
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Memoria and the Limitations of Ebert’s Empathy Machine

Celia Mattison·
Issue 115: Best of 2022
Writing about Memoria ignites the very challenge Jessica faces: how do I translate my thoughts to another person who cannot hold them, and why am I so determined to do so?
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The Blessing

Fran Hoepfner·
Issue 115: Best of 2022
Terence Davies' Benediction is not a puzzle, nor does it court confusion. Instead, it explains how Siegfried Sassoon’s life, whether he wants it or not, is a blessing.
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We Can Be Heroes

Calvin McMillin·
Issue 115: Best of 2022
We know the songs and the big story beats, but Baz Luhrmann shows us that with Elvis, there's still more to discover; not facts, really, but feelings.
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A Few Ways of Looking at The Fabelmans

Frank Falisi·
Issue 115: Best of 2022
The Fabelmans is not a coming-of-age story. There is no answer. It isn’t a parable or lesson or meditation. Instead it reflects, renders in real time, its creator’s relationship to his memories.
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The World of Love Wants No Monsters in It

Olivia Rutigliano·
Issue 115: Best of 2022
Luca Guadagnino's Bones and All is a film that is full of flesh, but also anti-flesh: ethereality and ephemerality.
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My God, It’s Full of Stars

Sarah Welch-Larson·
Issue 115: Best of 2022
Mad God is a stop-motion nightmare, a film that reads like a Boschian painting, a voyeur’s dream, and a dire warning all at once.
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The Unflattering Portrait

Nicholas Russell·
Issue 115: Best of 2022
James Gray's Armageddon Time traces a line from 1980 to now and asks, with no shortage of despair: What exactly has changed?
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Punkt Kontrapunkt

Hannah Bonner·
Issue 115: Best of 2022
"To see a character like Lydia Tár onscreen feels both cathartic and thorny."
Read More

Twitter

  • Our brand new February issue, “Sports”, kicks off tomorrow with a look at Michael Ritchie’s 1969 Robert Redford/Gen… twitter.com/i/web/status/16228…

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