Kelsey Ford on murder mysteries, gentleman sleuths, and Rian Johnson's Knives Out.
Queer people, refugees, those of us displaced from the linearity of the present who love people and places long gone: we’re always time traveling. We journey between the possible and impossible by way of memory, and art emerges in the crossing.
There was no shortage of enthralling female protagonists in 2019, many in films much more engaging than It Chapter Two—but Beverly Marsh is the one I keep coming back to.
Honey Boy and Doctor Sleep bleed from the same heart, an intimate diptych about abused boys who grow into men haunted by and reaching for their fathers.
Instead of taking issue with the facts of what Frank Sheeran tells us, The Irishman unravels the way he positions himself within his account.
The way we experience movies shapes the way we experience life, and to experience a movie like The Beach Bum, to ingest and absorb this much giddy existential gratitude, strikes at least this viewer as quite a blessing.
Whenever I put on I Think You Should Leave, its bedlam feels like a weighted blanket—a brief and soothing respite from the horrible truths of the outside world.
Neither BoJack Horseman nor the plays of Henrik Ibsen tell stories about magic, but the ways in which creator Raphael Bob-Waksberg has woven the playwright into his show is a narrative trick as good as any.
A Journey Through The Funky Fanfare of Once Upon a Time…in Hollywood
Pedro Almodóvar's Pain and Glory is a film unapologetically about films, where the subject is equal parts passion and profession, addiction and therapy.