The latest offering from genre auteur Jaume Collet-Serra and his hangdog, improbably athletic muse Liam Neeson may not be a great work of art, but, like its predecessors Non-Stop and Unknown, it’s compulsively watchable, even fascinating, and guided by a directorial sense that seems excessive for the material.More
In some ways, Jules Dassin’s Night and the City (1950) is an unlikely noir, which (along with an icy reception at the time from critics) might help explain why it’s not the first example of the genre that springs to mind — no femme fatale, no particular mystery, no play-by-play heist gone wrong, a curious fixation on wrestling, of all things.More
The road trip belongs to an incredibly particular technological moment.
There must be an element of protraction; it must take long enough to get from point A to point B to generate enough plot to keep the opening and closing credits 90-plus minutes apart.More
Columbus, Indiana is a town of less than 50,000, located about halfway between Indianapolis and Louisville, that happens to boast enough modernist architecture that its visitor’s guide includes tours of the iconic structures. It’s an improbable fact, a mecca of modernism in the heartland, that long-time video essayist / first-time director / one-name-haver Kogonada relishes in Columbus, one of the absolute best films of 2017 that I didn’t see until 2018.More
“There is no such thing as truth,” Tonya Harding (Margot Robbie) tells us at one of the many caustic, slippery moments in I, Tonya. “Everyone has their own truth.” This could serve as the self-congratulatory motto for Craig Gillespie‘s well-acted film, a distinctly, and appropriately, Trumpian sentiment for what might be the first of a genre: the Fake News Biopic.More
It’s an assumption, an article of faith, but it always bears repeating: every best-of list is a subjective snapshot, bound by what we could or would see, the genres to which we gravitate, the last-minute audibles called because we simply can’t bear to leave out a title.More