[There are some spoiler-ish comments regarding Andrei Tarkovsky’s film Stalker ahead.] • I’m in the Zone. It’s one of the most mysterious places in all of cinema. Some say that wishes are granted there. Some say it can swallow human beings whole, and that is why so few return. For
In Part Two of my Spider-Man focus, I zoom in on Spider-Man: Homecoming. How does it measure up to other Spidey films?
Spider-Man has always been the most interesting and compelling superhero for me — the only one whose movies I always want to see. Why? I think I finally figured it out.
Resembling Jeff Nichols’s Loving and Martin Provost’s Séraphine, Maudie is a magnificent film about the triumph of love over hardship and poverty in the lives of outcasts.
Nolan’s latest is high on noise, chaos, and anxiety, and low on poetry. But it provides a necessary corrective to the dangerous machismo of most war films.
David Lowery’s second movie about a somewhat-invisible character is a lot more mysterious… perhaps to a fault.
Someone breaks your heart. Or you lose your job and you need guidance into a better future. You survive a violent childhood and suffer from PTSD. Or you’re grieving the loss of a loved one. You know where to go. You seek out a therapist, a counselor, a spiritual director.
I opened the new film issue of Image today, which was edited by cinephile Gareth Higgins and Rectify writer/director Scott Teems, and I was immediately caught up in a complicated conflict regarding one of my favorite filmmakers: Robert Bresson. In the essay called “Necessary Images,” Teems writes, For years I’ve
Peter Weir’s Picnic at Hanging Rock — the 1975 film that set the tonal template for Sofia Coppola’s films — is more powerfully present here than in any of her previous work, even The Virgin Suicides. Again, we have women and girls in isolation, imprisoned in a vocabulary and colonial
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