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Carnival of Souls

Nothing quite agitates an artist like asking to explain their art. Perhaps it is the perceived implication that they didn’t communicate effectively, or that you aren’t willing to fully engage with their work, or that you are only concerned with being right. For the artistic partnership behind Carnival of Souls, the agitation is simply the…
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Apologia for Malick

Not that Terrence Malick needs a defense, but it seems that he has taken some heat from the forum of critics (including some of our own) as of late. This is understandable; Malick films tend to move against the grain of traditional narrative and shooting style. Anything we are unaccustomed to or unacquainted with, that…
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Detroit

2010 was the year of Kathryn Bigelow. She became the first woman to win an Oscar for Best Director and her breakout indie The Hurt Locker scored a surprise win for Best Picture. The film, about a bomb defusing team in Iraq, is a master-class in tension and a gripping character study to boot. Bigelow…
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Passengers

One of the dangers of writing about film is the ever-present danger of groupthink. We cinephiles love to consume movie culture which includes films themselves as well as criticism. In fact, criticism can be just as beloved as the art it criticizes. A Roger Ebert review is just as much a work of art as…
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The Machinery of Grading Movies

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Birdman

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Do Film Critics Matter?

“A man becomes a critic when he cannot be an artist, just as a man becomes an informer when he cannot be a soldier.” Edward Norton hurls this quote, by French author Gustave Flaubert, at a fictional theater critic in 2014’s Birdman. Michael Keaton confronts the same critic, accusing her of drowning everything in a…
