Category: the classics
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The Limits and Revelations of ‘Portrait of Jason’
Even through the elision-heavy editing and its subject’s initially, almost defensively romantic storytelling, we see so much.
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‘Hollywood Shuffle’ Cuts Deep
The movie is a semi-autobiographical product of frustration for co-writer and director Robert Townsend.
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‘Atlantics’ is a Mesmerizing Debut from Mati Diop
It will likely not take many more movies for Diop to be included in the pantheon of great filmmakers.
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‘First Cow’ is a Tender Tale of Friendship
John Magaro’s and Orion Lee’s performances are perfectly poignant.
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‘Shampoo”s Sober Approach to the Sex Comedy
‘Shampoo’ is unaffected and immediate — unnervingly lifelike.
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‘M’ is Fritz Lang at His Most Assured
Lang has said he made ‘M’ with mostly uncomplicated intentions — that he simply wanted to dissuade parental neglect. But, in hindsight, the movie is clear creative evidence of a man disillusioned.
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‘The Raven’ is the Most Charming of Roger Corman’s Edgar Allan Poe Series
This is a rambunctious horror-adjacent movie frequently operating at the fever pitch of a farce.
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‘Messiah of Evil’ is Unforgettably Bone-Chilling
‘Messiah of Evil’ grabs a hold of one’s fear of the unknown and squeezes and squeezes.
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The Communication Breakdowns of ‘Howards End’
This ambitious, nearly two-and-a-half-hour-long drama additionally functions as a romance, a cultural critique, a comedy of manners, and an ensemble piece.
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‘Born in Flames’ is as Urgent as Ever
‘Born in Flames’ galvanizes — reminds us that simply believing in something like a revolution is never enough.
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The Comedy and Horror of ‘The Devils’
‘The Devils’ lampoons, fairly spectacularly, the weaponization and power-leveraging of religion while chillingly underlining just how frightening the practice is.
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In ‘Original Cast Album: Company,’ Recording an Album is as Tense as a Thriller
One does not need to be familiar with ‘Company’ to be roused by its soundtrack’s making.
