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by InRO Staff Feature Articles Film

Before We Vanish | Issue #1

February 14, 2019

OK, so things don’t really vanish anymore: even the most limited film release will (most likely, eventually) find its way onto some streaming service or into some DVD bargain bin assuming that those still exist by the time this sentence finishes. In other words, while the title of In Review Online‘s new monthly feature devoted to current domestic and international arthouse releases in theaters will hopefully bring attention to a deeply underrated (even by us) Kiyoshi Kurosawa film, it isn’t a perfect title. Nevertheless, it’s always a good idea to catch-up with…

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#KickingtheCanon by Lawrence Garcia Film

Casualties of War | Brian De Palma

February 2, 2019

In taking on the horrors of Vietnam, Brian De Palma’s Casualties of War may be said to mark a departure for the American director of such baroque Hitchcockian exercises as Body Double and Obsession. With a script by David Rabe (best known for three plays based on his experience in Vietnam), Casualties of War is based on a book of the same name by Daniel Lang, and concerns what is now referred to as the incident on Hill 92: The 1966 kidnap, gang rape, and…

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#KickingtheCanon by Greg Cwik Music

Galaxie 500 | On Fire

January 5, 2019

Galaxie 500 is often labeled as a “shoegaze” band, which is understandable: their indolent, undeviating style (gently distorted guitars committing to one riff, one obsessive, rhythmic progression, and Dean Wareham’s sui generis singing, that indelible voice pervading each song like an unsound apparition) doesn’t feel like traditional guitar rock.…

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by Simon Abrams by Steve Carlson Podcasts

Bad Idea Podcast | Episode 31

May 2, 2017

#31: Too Dumb for Roman Numerals: The Sleazetacular ’80s of Charles Bronson & J. Lee Thompson Download episode here. Episode Description: The Reagan ’80s did funny things to people. Charles Bronson and J. Lee Thompson, the subjects of this month’s Bad Idea Podcast, were not exempt. The Decade from Hell saw these two experienced, aging veterans leaping headfirst into an ever-deepening pool of sleaze and degradation.…

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#KickingtheCanon by 
Drew Hunt Film

Drugstore Cowboy | Gus Van Sant

March 9, 2015

What Woody Allen is to New York — or, more accurately, what John Waters is to Baltimore — Gus Van Sant is to Portland. His films, particularly Mala Noche, Drugstore Cowboy, and My Own Private Idaho (known collectively as the “Portland Trilogy”) played a seismic role in cementing the city’s counterculture identity, though it’s important to note that the Portland seen in these films no longer exists. Indeed, the Portland Trilogy is a time capsule from an era that bears zero resemblance…

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#KickingtheCanon by Andrew Schenker Music

The Mekons | The Mekons Rock N’ Roll

January 30, 2015

Damning rock n’ roll for its racist and imperialist legacy while having the gall to simultaneously rock like hell, “Amnesia” stands at the thematic center of The Mekons most thematically compelling record. The ninth of the fourteen songs on The Mekons Rock N’ Roll (on the UK release, anyway; the band’s US label A&M trimmed two tracks against the group’s wishes), “Amnesia” traces the history of the eponymous genre from the slave ships that “brought rock n’ roll to America” to its…

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by John Oursler Feature Articles Film

Selects from BAMcinématek’s Booed at Cannes Series

May 13, 2013
Under the Sun of Satan

As the world’s sole “industry only” film festival, Cannes stands alone in that the first audiences to see each film are not a mix of industry and common-folk, but rather only those most privy to the ins and outs of the moviemaking machine. There are pros and cons to this: While Cannes is known to invite films from emerging talents or visionary auteurs, the viewers of those films have a different threshold for, and interest in, what they’re watching. If…

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by Daniel Gorman Feature Articles Film

Bullet to the Head Director Walter Hill’s Action Poetry

February 1, 2013
Walter Hill's Action Poetry

Today marks the return of Walter Hill to the big screen—with the Sylvester Stallone-starring Bullet to the Head, the director’s first theatrically released film since 2002’s Undisputed. His two-hander action poetry has surely been missed; it’s the kind of tough, taciturn, no-nonsense genre filmmaking that’s frequently dismissed by middlebrow critics and sorely lacking in today’s blockbuster-spectacle-superhero-driven marketplace. Hill, like his contemporary John McTiernan (or Howard Hawks before them), specializes in genre films revolving around professionals doing a “job of work,”…

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by Tina Hassannia Retrospective

Homework | Abbas Kiarostami

August 22, 2011

Abbas Kiarostami has never been shy of image manipulation in his documentary films. One almost hesitates to call Close Up a documentary, for instance, because of this manipulation, since no one can truly understand how much has been restaged or “acted” and how much should be taken as truth. Certain dubious scenes in Close Up—namely, Sabzian’s trial—pose more philosophical questions about the entire cinematic exercise than they answer, which is partially why the film is ultimately rewarding. Kiarostami’s post-Revolution preoccupation with…

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by A.A. Dowd Feature Articles Film

Alternating Currents | Under Construction: Notes on the ‘Notes’ of Saul Levine

August 7, 2010

Most of us are loathe to admit it, but the job of a film critic is, more often than not, that of a glorified publicist. The best among us aspire to more—to enlightenment, to intellectual engagement, to the communication of everything this oh-so-young artistic medium is capable of conveying. On our best days, we get there. Other days, working the beat, grinding out the copy, we forget the difference between what we do and what those Hollywood mad men do.…

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