Though the vast majority of Robert Zemeckis’ films are family-friendly, it’s also easy to find cruelty and blatant sexuality in nearly all of them, the two often intermingled. It might be easy to identify the incestual overtones of Lorraine Baines-McFly’s advances on her future son as a cringeworthy…
For a film whose subject is one of the most famous events in the history of American popular culture, Robert Zemeckis’ I Wanna Hold Your Hand is actually quite intimate. It’s less concerned with representing the scale of the Beatles’ cultural influence, and more interested in the emotional…
I’m not sure people entirely remember the film Audition. Like much of his body of work, director Takashi Miike’s breakthrough into global recognition is perhaps best remembered for its transgressive, stomach-churning imagery, in particular its propulsive final act. Like a lot of horror movies that gained notoriety in…
Squeal is an occasionally striking study of the fairy tales men tell themselves, but it too often feels floundering and under-cooked to be regarded as a success. A traditional quality that behooves most fairy tales is their ability to suspend judgement and disbelief, sometimes to logical extremes, in…
While his first directorial credit for a commercial project was released a decade after the Movie Brats first took hold of Hollywood in the late ’60s to early ’70s — where a mere year after 1978’s I Wanna Hold Your Hand, he would collaborate with Steven Spielberg on…
Rule 34 At its core, the intellectual thesis of Julia Murat’s intelligent if inconclusive film belies a more emotional investment. As its title might imply, Rule 34 denotes both the anarchic signification of the eponymous Internet maxim as well as the ambiguous sexual and social politics that have…
There’s a relaxed tone to Alessandro Comodin’s The Adventures of Gigi the Law — one that’s so lackadaisical the film often threatens to stall whenever there’s a moment of inactivity, which constitutes about 90% of the motion picture’s runtime. Take your pick for the film’s most thrilling set…
Spin Me Round, which bafflingly sidelines its most intriguing performer halfway through, ultimately offers little more than a light subversion of European vacay romcoms. Jeff Baena’s Spin Me Round, co-written with its star Alison Brie, sets out as a comedic take on the very Hollywood idea of an…
Human Flowers of Flesh Bouncing back from two years worth of Covid-related disruption while still riding out some major switch-ups and art direction, the Locarno Film Festival returned in 2022 with an international competition lineup more in keeping with the imagination and avant-garde leanings of the programs they…
Since the advent of an autonomous African cinema in the 1960s, Western audiences have grown accustomed to a realist, declarative style that served to describe histories that had been obscured by the legacy of colonialism. But this was as much a tendency on the part of Western tastemakers…
Jean-Paul Civeyrac’s A Woman (Une femme de notre temps) could be taken for a statement film: Juliane (Sophie Marceau) is a Parisian chief of police; her contemporary surroundings foreground the visual signposts and audio reports of a mounting Covid-wave; and the score is ostentatiously selected from the work…
Like most of Yuasa’s feature-length works, Inu-Oh lacks the dimension of his small screen output, and indulges the director’s sloppiest storytelling instincts. Masaaki Yuasa simply can’t be stopped — or at least that’s what it has seemed like for the past two decades, during which the prolific and…
Mack & Rita is but the latest lame vehicle for Diane Keaton, a lazy body swap flick with little heart or humor to sell its concept. Does Diane Keaton owe dangerous men large sums of money? The once revered actress follows up 2020’s wretched Dennis Dugan-directed romance Love, Weddings…
Honestly, Nevermind is Drake’s best record in a half-decade, a monumental work of pop music-making and a welcome disruption of his grab-bag approach to album construction. For a few years and however many album cycles now, Drake, that enduring icon of Canadian excellence x pettiness, has been floundering, really…
Post Malone Few may have guessed that Austin Richard Post (or, Post Malone, as translated by an Internet rap name generator) would be the enduring cultural figure that he is today when “White Iverson” dropped back in 2015. What would prove to be a career-making single and something…
Mississippi Son is Charlie Musselwhite’s crowning achievement, the kind of rarified synergy of craft and content that only the most veteran practitioners can accomplish. Toward the end of Mississippi Son, Charlie Musselwhite imagines himself as a hitchhiker, young and aimless. The blues itself is personified as the driver who…
Inu-Oh Masaaki Yuasa simply can’t be stopped — or at least that’s what it has seemed like for the past two decades, during which the prolific and equally eccentric animator slowly built his iron-clad reputation alongside a definitive collection of singularly free-flowing television series that he directed, wrote,…
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…
Ali and Ava is a more formally restrained work for Barnard, but one imbued with limitless compassion and hardscrabble authenticity. Clio Barnard’s 2010 debut film The Arbor, a documentary/fiction hybrid based on the play by acclaimed writer Andrea Dunbar, features a fascinating formal gambit in which actors lip-synced…
Alone Together is but the latest reminder that Covid-inspired relationship tales reached their expiration date long ago. Relationship dramas revolving around the Covid pandemic and the early days of quarantine have proven to be, by and large, one of the worst things to afflict the film medium since…