It’s astounding how effortless Richard Linklater’s Before Sunrise and Before Sunset feel. Each captures a miraculous authenticity that could be derailed by a moment of artifice: a clunky line of dialogue here, an unconvincing line-reading there, even a showy shot that draws attention to itself could scuttle the film’s immersive realism, the unbroken illusion that…
The Place Beyond the Pines is a difficult film to rate; it’s undeniably exciting and innovative, but its reach often exceeds its grasp. The film is a significant departure from Derek Cianfrance’s last film, Blue Valentine, which was an intensely intimate experience filmed in a grubby, shaky vérité style. His new film is more expansive,…
(Double Feature is a series of “double length” (400-word) posts where I’ll discuss two related pop culture artifacts) Inception was a critical and commercial success, a cerebral blockbuster nonetheless filled with action. It’s unique in that it’s successful, high budget film from the last decade that’s based on an original idea. The film has even…
(Double Feature is a series of “double length” (400-word) posts where I’ll discuss two related pop culture artifacts) William Friedkin’s The Exorcist and Nicolas Roeg’s Don’t Look Now have a great deal in common: both are supernatural horror films released in 1973, both now regarded as genuine classics. They’re each impeccably directed and feature rightfully…
(Double Feature is a series of “double length” (400-word) posts where I’ll compare two related pop culture artifacts) The best scary movies impress themselves upon you. They resurface as you walk down a darkened corridor to your bedroom in the deep of the night, or as your house creaks and shudders in a strong breeze.…
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