The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with a small break in the middle), I’m stepping down as this site’s Editor-in-Chief, to be succeeded by co-founder (and unapologetic…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with a small break in the middle), I’m stepping down as this site’s Editor-in-Chief, to be succeeded by co-founder (and unapologetic…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with a small break in the middle), I’m stepping down as this site’s Editor-in-Chief, to be succeeded by co-founder (and unapologetic…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with a small break in the middle), I’m stepping down as this site’s Editor-in-Chief, to be succeeded by co-founder (and unapologetic…
The Last Word from Your Editor, Sam C. Mac: With the 2010s officially over, the time seems right for another departure: after 12 years (with a small break in the middle), I’m stepping down as this site’s Editor-in-Chief, to be succeeded by co-founder (and unapologetic…
Nikolaus Geyrhalter’s latest is a rhythmic, matter-of-fact portrait of economic compromise. Nikolaus Geyrhalter’s Earth, from the outset, frames its massive landscapes as sites of continual transformation; large-scale machinery usually litters the frame, excavating the planet indiscriminately and gradually altering its surface. Most of this…
Beanpole is a rending vision of aftermath, conjuring moments of real beauty from misery. War films have been with us as long as film has been a medium. Less common are depictions of what comes after conflict, presumably because the excitement is over; lingering pain…
The Traitor operates as both biopic and mob flick, reveling in the murky complexity of its central figure. A biopic of Mafia boss Tommaso Buscetta (played splendidly by Pierfrancesco Favino) — nicknamed “the boss of two worlds” for being a snitch for the Italian government,…
Color Out of Space is a willing 80s horror throwback but relies on its foregone status as future cult film rather than developing anything truly excellent. A response to the sci-fi-horror hybrid genre’s fixation on specificity, with regard to the catalysts of fear and the…
Bonello’s attempt to meld cultural commentary with a historical consideration of colonialist sins is lost amid a commitment to tension-building. Voodoo, as represented in Zombi Child, is a religion of opposing functions that ties together life and death in a volatile form of spirituality, though…
