Boys Don’t Cry: The Masculine Melodrama Of ‘Manchester By The Sea’
Manchester by the Sea’s protagonist represents the distillation of uncommunicative masculinity as well as its deleterious effects.
Split (2017)
Split is already being heralded as M. Night Shyamalan’s “return to form.” It’s not.
Shepherds and Butchers (2016)
Shepherds and Butchers’s biggest failing is its inability to consider race with any nuance – surprising, given its apartheid-era setting.
Live By Night (2016)
Live By Night begins as the gangster film we’ve seen before – Boston, molls, tommy guns and prohibition.
Fashion Will Eat Itself: The Empty Stylism of The Neon Demon
We’re so pretty, oh so pretty … vacant.
xXx: Return of Xander Cage (2017)
A xXx movie doesn’t make a whole lot of sense in 2017, but maybe it doesn’t need to.
Portman and Larraín Interrogate the Myth of ‘Camelot’ in Jackie
Good or bad, biopics are a form of public relations: a way of reinforcing, challenging or establishing the public perception of their subject. Jackie is a biopic about how those PR decisions are made.
The Edge of Seventeen (2016)
Teen self-sabotage: don’t do it. (Do go see The Edge of Seventeen, though. It’s great.)
City of Stars: La La Land’s Exhilarating Exploration of Art & Love
A soaring Hollywood fantasy about art, romance and nostalgia.
Assassin’s Creed (2016)
Assassin’s Creed is a disaster: a morass of muddled imagery, incoherent plotting and dreadful screenwriting.
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