January 20, 2012
The current PBS Masterpiece series mashes the “class” buttons hard, in both the literary and the economic senses. But its relationship with the English novel is more complicated than it might appear.
November 16, 2011
by Steve Himmer
The monsters are always among us, because no matter how tightly we shore up the windows and nail shut the doors, we always create some new cracks through which they can come.
September 30, 2011
Take whatever it is that’s important to you – knitting, perhaps, or mountain biking – and then imagine waiting for a feature film about it. Would you be excited or nervous? Or would you simply be dreading how Hollywood would manage to fuck up your passion?
September 21, 2011
by Bill Morris
As the divisions of class and race continue to harden and widen in this country, I say we could use more leaders like Stokely Carmichael and Angela Davis, with their beautiful, hard-earned fury.
September 8, 2011
Judd Apatow and friends, with their hyper-familiar brand of hairy-assed humor, have issued a crushing blow to the suspension of disbelief — and made the gap between old comedy and new unbridgeable.
August 16, 2011
by Joe Griffin
You might think that Real Steel 2 is an exception. You might think that, even by the standards of Hollywood conservatism gone mad, work on Real Steel 2 is a damning, individual act of hubris. But it’s far from the only example.
August 3, 2011
by Matt Hanson
You don’t have to question Herzog’s honesty in watching his films, though you might start to question his sanity.
July 26, 2011
Friday Night Lights is bad television. And if it is art, then it is art that is purposefully misleading, which is art of the worst kind. Something is truly rotten in the state of Texas.
July 8, 2011
by Matt Hanson
Critical reaction to Terrence Malick’s The Tree of Life has been decidedly garrulous. A vast majority of reviewers have invoked some kind of “higher” culture to signify the elusive mood or feeling it evokes.
June 29, 2011
by Sonya Chung
“[T]he characters and story are very very far from my life. I think [Red Hook Road] is the best thing I’ve ever written, which, when you think about it, is pretty telling. Perhaps we should all be grateful that I’m now writing a TV pilot about magicians and con men who spy for the British in World War II.”