Philip Dinolfo weighs the highs and lows of Terence Malick’s flawed vision of L.A. in his latest film Knight of Cups.
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.
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.
Steven T. Hanley
Steven T. Hanley spoke with David Lynch and his musical improvisational collaborator Marek Zebrowski about their haunting, exploratory album, Polish Night Music.
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.
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.
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.
Tanner Tafelski looks at some of the mood at work in John Magary’s latest film, the comic-drama, The Mend.
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 latest film from Francesco Munzi appropriates mob culture, not through violence, but through moral strategy. Eric Nelson reviews.