The Dissonance in Terence Malick’s Knight of CupsPhilip Dinolfo
Philip Dinolfo weighs the highs and lows of Terence Malick’s flawed vision of L.A. in his latest film Knight of Cups.
Oscars 2016: The Year of the BoycottKevin Killian
Who had fun at the Oscars this year? It’s hard to say. Kevin Killian takes his annual dissecting eye to what showed up and what was missing during one of the more socially misaligned events of the season.
Ideal Home Noise (5): Hairy Who, McCormack, GermanJeff Jackson
Jeff Jackson’s fifth installment of Ideal Home Noise takes us into the Hairy Who Publications, Derek McCormack, and Aleksei German’s Hard to Be a God.
DARKNESS ON THE EDGE OF TOWN: An Interview with David Lynch and Marek ZebrowskiSteven T. Hanley
Steven T. Hanley spoke with David Lynch and his musical improvisational collaborator Marek Zebrowski about their haunting, exploratory album, Polish Night Music.
When the Car Won’t Start: The Somnambulant Body Melt of The Incredible Melting ManEd Steck
In the first installment of his ongoing B-movie and exploitation film revue, Ed Steck takes a look at the bizarre confluence of styles at play in 1977’s The Incredible Melting Man.
On the Unholy Family in American Horror FilmDavid Leo Rice
David Rice takes an eye to the institution of the “freak family” and their ongoing association with incest and cannibalism throughout the history of American horror film.
Coolness, Class, and the Canon: Blue Velvet vs. Something WildScott Creney
Why is David Lynch’s Blue Velvet considered a classic, while Jonathan Demme’s strangely parallel Something Wild is not? Scott Creney provide a close critical evaluation of two of 1986’s strangest films.
Doublings: A Review of The MendTanner Tafelski
Tanner Tafelski looks at some of the mood at work in John Magary’s latest film, the comic-drama, The Mend.
Baked Goods: Encountering Sean Baker’s CinemaTanner Tafelski
Tanner Tafelski takes a look back at the three most recent films by Sean Baker, recently including Tangerine, a feature film shot via the iPhone5.
The Patron Saint of the Impossible: Francesco Munzi’s Black SoulsEric Nelson
The latest film from Francesco Munzi appropriates mob culture, not through violence, but through moral strategy. Eric Nelson reviews.