Wednesday, April 26, 2017

The World's End (UK/USA/Japan: Edgar Wright, 2013)




The World's End (UK/USA/Japan: Edgar Wright, 2013: 109 mins)

Brand, Scott. "Aftermath: A Few Thoughts on The World’s End as Imagined by Simon Pegg and Edgar Wright." Sequart (February 25, 2016)

---. "The End is Nigh!!!: A Few Thoughts on The World’s End as Imagined by Simon Pegg and Edgar Wright." Sequart (February 18, 2016)

Chen, David. "Edgar Wright and the Art of Close Ups." (Posted on Vimeo: 2014)

Hancock, James and Kyle Reardon. "Edgar Wright's Cornetto Trilogy." Wrong Reel #142 (June 6, 2016)

Jameson, A.D. "25 More Pints: Revisiting The World's End." HTML Giant (September 2, 2013)

Seitz, Matt Zoller. "The World's End." Roger Ebert (August 23, 2013)

Singer, Matt. "The World's End." The Dissolve (August 22, 2013)

The World's End Critics Round Up (Ongoing Archive)

Zhou, Tony. "Edgar Wright: How to Do Visual Comedy." (Posted on Vimeo: May 2014)









Monday, April 17, 2017

The Neon Demon (France/USA/Denmark: Nicholas Refn Winding, 2016)




"Like a 21st-century Showgirls meets Suspiria, Nicolas Winding Refn’s delirious plunge into the fake plastic horror of the image-obsessed fashion industry trafficks in both high-camp excess and kaleidoscopically stylized splatter. Elle Fanning is the guileless recent L.A. transplant whose fresh-faced youth and beauty almost instantly land her a high-profile modeling contract. Whatever “it” is, she has it. And a coterie of monstrously jealous, flavor-oflast-month Hollyweird burnouts will stop at nothing to get it. Working in a supersaturated, electric day-glo palette, Braier fashions a sleek, freaky-seductive vision of L.A.’s dark side." - The Female Gaze (2018)
The Neon Demon (France/USA/Denmark: Nicholas Refn Winding, 2016: 110 mins)


Bradley, S.A. "Shut Up and Watch the Movie (Part Two)." Hellbent for Horror #44 (June 19, 2017)

Braier, Natasha. "'I'm Like a Flare Hunter': On The Neon Demon." Filmmaker (November 30, 2016)

Cassidy, Brendan and J.D. Duran. "The Neon DemonDr. Strangelove - Extra Film." In Session (July 1, 2016) 

Fanning, Elle, et al. "Winding Refn - Elle Fanning Interview / De Palma." Filmspotting #591 (June 24, 2016)

Graham, Bill, Brian Roane and Ethan Vestby. "The Neon Demon." The Film Stage #196 (June 28, 2016)

Hancock, James. "The Neon Demon." The Wrong Reel (June 24, 2016)

Harvey, Dennis. "The Neon Demon and the Fear of Women." Keyframe (June 24, 2016)

Hudson, David. "Nicolas Winding Refn's The Neon Demon; 'Nervy feminist provocation or misogynist freakshow?'” Keyframe (May 19, 2016)

Kacprzak, Mikolaj. "The Silent Gaze." (Posted on Vimeo: September 2016)

Kermode, Mark. "The Neon Demon: Beauty as the Beast." The Guardian (July 10, 2016)

Koski, Genevieve, et al. "The Neon Demon/Suspiria, Pt. 1." The Next Picture Show #35 (July 12, 2016) ["Nicholas Winding Refn’s new THE NEON DEMON inspired us to look back at another tale of female rivalry that plays out in lurid colors and more than a little violence: Dario Argento’s classic 1977 horror movie SUSPIRIA. In this half, we explore the specific, lurid style in which Argento works, and consider how it functions as both cinema and horror. "]

---. "The Neon Demon/Suspiria, Pt. 2." The Next Picture Show #36 (July 14, 2016) ["We move our conversation of Dario Argento's 1977 film SUSPIRIA to Nicholas Winding Refn’s THE NEON DEMON, which works as a contemporary companion piece. In this half, we talk over the two films' respective uses of color, violence, and female competition."]
Martinez, Cliff. "Neon Demon." The Treatment (June 8, 2016) ["Cliff Martinez has strong roots in rock music, having begun his career as the drummer of Red Hot Chili Peppers. But, after reflecting on his love for the soundtrack of A Fistful of Dollars, Martinez broadened his musical scope as film composer behind scores for such films and television series as Spring Breakers, Sex, Lies and Videotape and The Knick. He joins Elvis Mitchell to discuss his personal music history and the thought process behind his latest musical work on Neon Demon."]

The Neon Demon Critics Round Up (Ongoing Archive)

"Nicolas Winding Refn." The Close-Up #90 (June 29, 2016)

Paul, Jacob. "The Current Debate: Seeing and Believing in The Neon Demon." Notebook (June 29, 2016)

Refn, Nicholas Winding. "The Neon Demon." The Cinema Show (July 8, 2016)

Stark, Clinton. "The Neon Demon: Critic wants to ban Nicolas Winding Refn’s film, protect England from 'depravity." Stark Insider (June 7, 2016)

Swinney, Jacob T. "12 Essential Women Cinematographers." Keyframe (August 10, 2016)


























Tuesday, April 11, 2017

Moonlight (USA: Barry Jenkins, 2016)




Moonlight (USA: Barry Jenkins, 2016: 110 mins)


Adalat, Haroon. "Barry Before Moonlight: Much of what made this Best Picture so special also can be found in Barry Jenkins' earlier work." Keyframe (March 3, 2017)

Adams, Amy, et al. "Watch Isabelle Huppert, Emma Stone, Amy Adams & More Discuss Acting in 50-Minute Roundtable."  Film Stage (January 30, 2017) [" Isabelle Huppert (Elle), Emma Stone (La La Land), Amy Adams (Arrival), Natalie Portman (Jackie), Naomie Harris (Moonlight), Annette Bening (20th Century Women), and Taraji P. Henson (Hidden Figures)."]

Als, Hilton. "Moonlight Undoes Our Expectations." The New Yorker (October 24, 2016)

Art of the Title. "Know Your 2017 Below-the-Line Oscar Nominees." The Film Stage (January 30, 2017) ["The major below-the-line categories are Cinematography, Production Design, Sound Editing/Mixing, Visual Effects, Costume Design, and Makeup and Hairstyling . On the best productions (including those that the Academy labels Best Picture), the work of these crucial visual elements often blend together so seamlessly that it's hard to pick their creators' work.Thankfully, Art of The Film has created a series of supercuts called Oscars in One Minute that isolate the work of these artists so we can fully recognize their importance and beauty within each respective production."]

Atad, Corey. "Talking with Moonlight's Trevante Rhodes: For this young actor, reflecting on a breakthrough role, it's all about the empathy." Keyframe (October 20, 2016)

Bastién, Angelica Jade. "The Empathy Machine: Why Moonlight Isn’t Universal and That’s a Good Thing." cléo 5.1 (2017)

Bordwell, David. "Fantasy, flashbacks, and what-ifs: 2016 pays off the past." Observations on Film Art (January 2, 2017)

Brody, Richard. "The Unbearable Intimacy of Moonlight." The New Yorker (October 28, 2016)

Brubaker, Philip. "Oscar to Oscar: Black Auteurs and the Academy." Keyframe (February 9, 2017)

Buder, Emily. "Moonlight: Barry Jenkins on Why the Exquisite Film Nearly Killed Him." No Film School (October 10, 2016)

Clark, Ashley, Violet Lucca and Amy Taubin. "Identity." Film Comment (January 17, 2017) ["Ideology and aesthetics have somehow come to be positioned opposite one another—in film criticism, should one be privileged over the other? This episode of The Film Comment Podcast discusses how race, ethnicity, and other markers of identity factor into film criticism and cinema generally. FC Digital Editor Violet Lucca unpacks the topic with Amy Taubin, Contributing Editor to FC and Artforum, and Ashley Clark, FC contributor and programmer, in a conversation that spans multiple decades of film history—from Taxi Driver to OJ: Made in America to Notting Hill to I Am Not Your Negro, to the canceled Michael Jackson episode of Urban Myths starring Joseph Fiennes."]

Clifton, Derrick. "Why Moonlight Should Win Best Picture at the Oscars." NBC News (January 24, 2017)

Collins, K. Austin. "The Radical Intimacy of Moonlight." The Ringer (October 18, 2016)

Dyer, Richard. "Interview." The Cinematologists #43 (April 6, 2017) ["Professor Dyer's writing and scholarship has been extremely influential across Cultural Studies and Film Studies with recurring foci on the politics of representation, ideology and class, gender and sexuality, race, stardom to name just a few. His intellectual curiosity is infused with a identity politics that often centres around the difficult, contradictory relationship between cultural production and social reality. His work is hugely relevant to today's issues and in this interview Professor Dyer is generously self-reflexive in looking back, with a critical eye, over his long and distinguised career."]

Eggert, Brian. "Moonlight (2016)." Deep Focus Review (November 20, 2016)

Ferdinand, Marilyn. "Moonlight (2016)." Ferdy on Films (November 9, 2016)

Fowler, Darren. "To Erotically Know: The Ethics and Pedagogy of Moonlight." Liquid Blackness #7 (October 2017)

Jasper, Marykate. "These Tone-Deaf Reviews of Moonlight and Hidden Figures Are Why We Need Critics of Color." The Mary Sue (February 19, 2017)

Jenkins, Barry. "Moonlight." IndieWire Filmmaker Toolkit (October 21, 2016)

Kacprzak, Mikolaj. "Behind Moonlight." (Posted on Vimeo: March 2017)

Karaduman, Arzu. "'Hush-hush, I Will Know When I Know': PostBlack Sound Aesthetics in Moonlight." Liquid Blackness #7 (October 2017)

Koski, Genvieve, et al. "In the Mood for Love / Moonlight, Part 1." The Next Picture Show #51 (November 22, 2016) ["Inspired by one of the year’s biggest indie sensations, Barry Jenkins’ MOONLIGHT, we’re looking at another highly romanticized tale of unrequited love: Wong Kar-wai’s beautiful 2000 film IN THE MOOD FOR LOVE. In this half, we talk about how affecting LOVE’s central non-love-story is - and why - and consider how the film reflects Wong’s improvisational methods and his desire to create a dreamlike return to the Hong Kong of his childhood."]

---. "In the Mood for Love / Moonlight, Part 2." The Next Picture Show #52 (November 24, 2016) ["Our discussion of lyrical portraits of unrequited love turns its attention to Barry Jenkins’ MOONLIGHT, the look and feel of which—the final third in particular—recalls the bittersweet tone of Wong Kar-Wai’s IN THE MOOD FOR LOVE. We share our reactions to MOONLIGHT, and consider the two films’ shared qualities, including their use of unusual framing and the thematic importance placed on food."]

Marinacci, Alesso. "Moonlight and Wong Kar Wai." (Posted on Youtube: Posted January 28, 2017)

May, Kate Torgovnick. "How Color Helps a Movie Tell a Story." TED (April 5, 2017)

Mayer, Sophie. "In Praise of Soft Cocks." cléo 5.1 (2017)

McGrail, Lauren. "5 Essential Elements of Successful Mise en Scène in Film." Lights Film School (2018)

Moonlight Critics Round Up (Ongoing Archive)

Raengo, Alessandra. "Holding Blackness: Aesthetics of Suspensions." Liquid Blackness #7 (October 2017)

Ramos-Taylor, Zachary. "The Intimate Look." (Posted on Vimeo: March 2017)

Schotz, Mal. "How to Praise Moonlight." Situation Critical (November 5, 2016)

Scott, A.O. "Moonlight: Is This the Year's Best Movie." The New York Times (October 20, 2016)

Shoard, Catherine. Should Critics of Moonlight Be Hounded for Having an Opinion." The Guardian (February 22, 2017)

Sims, David. "Moonlight is a Film of Uncommon Grace." The Atlantic (October 26, 2016)

Smith, Nathan. "Chopped and Screwed: This hip-hop subgenre could be the best thing that's happened to movies in years." Keyframe (March 21, 2017)

Swinney, Jacob T. "The Final Shot: Fading to White." Fandor (November 30, 2018)

---. "Reoccurring Imagery in Moonlight." (Posted on Vimeo: March 2017)

Tallerico, Brian. "Moonlight." Roger Ebert (October 21, 2016)

Zaman, Farihah and Nicolas Rapold. "Song of Myself." Film Comment (September/October 2016) ["Barry Jenkins confirms his talent with a heartwrenching and gorgeous portrait of a man grappling with his sexuality in a rough corner of Miami"]







































































PICK ONE from Catherine Grant on Vimeo.



Monday, April 10, 2017

Get Out (USA: Jordan Peele, 2017)




Get Out (USA: Jordan Peele, 2017: 103 mins)

Alcoff, Linda Martin. Visible Identities: Race, Gender and the Self. Oxford University Press, 2006.

Appen, Joe Von and Erik McClanahan. "Get Out / I Don't Feel at Home In This World." Adjust Your Tracking #141 (March 9, 2017)

Bakare, Lanra. "Get Out: The Film That Dares to Reveal Liberal Racism in America." The Guardian (February 28, 2017)

"Black Horror: The Revolutionary Act of Subverting the White Gaze." Miskatonic Institute of Horror Studies (February 2018)

Bradley, S.A. "Shut Up and Watch the Movie (Part One)." Hellbent for Horror #42 (May 29, 2017)

Brooks, Kinitra. "What Becky Gotta Do to Get Murked? White Womanhood in Jordan Peele's Get Out." Very Smart Brothers (March 3, 2017)

Butler, Bethonie. "The Brilliant Casting of Jordan Peele's Get Out." The Washington Post (March 9, 2017)

Chack, Erin. "22 Secrets Hidden in Get Out That You May Have Missed." Buzz Feed (March 3, 2017)

Colburn, Randall. "Horror and Race: How Jordan Peele’s Get Out Flips the Script." CoS (February 26, 2017)

Daniel, James Rushing. "'Another One for the Fire': George A. Romero on Race." The Los Angeles Review of Books (July 25, 2017)

Dargis, Manohla and A.O. Scott. "One Nation Under a Movie Theater? It's a Myth." The New York Times (September 7, 2017)  ["Hollywood wants us to think that its films are for everyone, but our critics say that was never true. Still, they see a way forward."]

Dowd, A.A. "Jordan Peele shifts from comedy to horror with the smart, cutting Get Out." A.V. Club (February 23, 2017)

Get Out Critics Round Up (Ongoing Archive)

"Get Out Syllabus."

Hancock, James, Mikhail Karadimov and Marcus Pinn. "Jordan Peele's Get Out & The Social Thriller." Wrong Reel #238 (February 28, 2017)

Harris, Brandon. "The Giant Leap Forward of Jordan Peele's Get Out." The New Yorker (March 4, 2017)

Hoberman, J."A Real American Horror Story." The New York Review of Books (March 13, 2017)

Jilanu, Zaid. "The Hilarious, Terrifying, British Death of Stalin Shows How American Comedy's Gone Wrong." The Intercept (March 17, 2018)

Jones, Matthew. "Politicizing the Horrific: How American Anxieties Play Out on Screen." Philosophy in Film (March 25, 2017)

"Jordan Peele: The Art of the Social Thriller." BAM (Film series curated by the director: February/March 2017)

Morris, Wesley and Jenna Wortham. "Get Out, S-Town, and What To Do With Our Racial Past." Still Processing (April 13, 2017)

Novak, A.M. "Not Your Trophy: Deer Imagery in Jordan Peele's Get Out." Vague Visages (March 22, 2017)

O'Falt, Chris. "The Best Cast Films of 2017, According to Top Casting Directors." IndieWire (December 4, 2017) ["15 casting directors explain the brilliance behind their peers’ work in “Lady Bird,” “Get Out,” “The Post,” "The Shape of Water," and more."]

Parham, Jason. "Get Out Proves The Only Way To Battle White Supremacy Is To Kill It." Fader (March 8, 2017)

Pasternack, Jesse. "Beneath the Paving Stones, the Nightmares!: American Social Thrillers of the 1960s." A Place for Film (February 5, 2018)

Phipps, Keith, Tasha Robinson and Scott Tobias. "Get Out / People Under the Stairs (Pt. 1)." The Next Picture Show #66 (March 7, 2017)

---. "Get Out / People Under the Stairs (Pt. 2)." The Next Picture Show #67 (March 9, 2017)

Oliver, Toby. "Interview with Get Out Cinematographer." Following Films (March 7, 2017)

Peele, Jordan. "Jordan Peele Gets Into Horror." Still Following (March 2, 2017)  ["It’s not hard to explain the premise of “Get Out.” A woman (Allison Williams) takes her boyfriend (Daniel Kaluuya) home to meet her parents (Catherine Keener and Bradley Whitford). He’s black, she and her parents are white — like, liberal white, good white. They’re totally down. What’s complicated to talk about with this film — the No. 1 movie in the country, by the way — is where the racial horror and the comedy take us and where they come from. It’s funny, scary, shocking and sad."]

Piepenburg, Eric. "At This Film Institute, the Course Material Is Killer." The New York Times (February 11, 2018)

Pott, Julia. "My Mom's Amazing Voicemail Review of Get Out." Talkhouse (May 10, 2017)

Ratcliff, Travis Lee. "The Legacy of Paranoid Thrillers." (Posted on Vimeo: June 2017) ["Paranoid thrillers are constant in cinema's history, but at any given moment they reflect our specific anxieties back to us and reveal how we feel about our institutions. Here, I explore how paranoid thrillers crystalized as a genre in American cinema and examine the possibility of a contemporary renaissance in conspiracy fiction."]

Thrasher, Steven. "Why Get Out Is the Best Movie Ever Made About American Slavery: Jordan Peele's horror film is about the theft of black bodies—but it isn't set in the Antebellum South." Esquire (March 1, 2017)

White, Armond. "Return of the Get Whitey Movie." National Review (February 24, 2017)

Wilkinson, Alissa. "Get Out is a horror film about benevolent racism. It's spine-chilling." Vox (February 25, 2017)

Wittmer, Carrie. "Why this new horror movie has a rare perfect score from critics — and you need to see it." Business Insider (February 23, 2017)

Yancy, George. "Whiteness as Ambush and the Transformative Power of Vigilance." Black Bodies, White Gazes: The Continuing Significance of Race. Rowan and Littlefield, 2008: 227-247.










































Monday, April 3, 2017

Elle (France/Germany/Belgium: Paul Verhoeven, 2016)




Elle (France/Germany/Belgium: Paul Verhoeven, 2016: 130 mins)


Barton-Fumo, Margaret. "Paul Verhoeven." The Film Comment (November 15, 2016) ["What are the uncanny forces at work behind Paul Verhoeven’s visceral and transgressive cinema? In anticipation of the Film Society’s complete retrospective of the Dutch master’s films and the U.S. release of Elle, this episode offers a comprehensive discussion of the director’s audacious and eclectic career encompassing art-house Dutch films (Turkish Delight [1971], Spetters [1980]) and big-budget Hollywood productions such as Basic Instinct (1992), Total Recall (1990) and Starship Troopers (1997). In the first part of the podcast, Film Comment Digital Editor Violet Lucca sits down with a panel of Verhoeven connoisseurs, including Cinema Scope critic Adam Nayman, Film Comment Deep Cuts columnist Margaret Barton-Fumo (also the editor of a forthcoming book of interviews with Verhoeven), and Fort Buchanan director Benjamin Crotty, to tackle the controversy that lies at the core of Verhoeven’s work. In the final part of the episode, Margaret Barton-Fumo speaks to Verhoeven about the uncomfortable eroticism that pervades Elle and his Brechtian influences."]

Bidisha. "Rape Fantasy Elle is Not a Five Star Masterpiece - It is Sick." The Guardian (March 28, 2017)

Bradshaw, Peter. "Elle: Startling Strange Rape-Revenge Black Comedy." The Guardian (March 9, 2017)

Brody, Richard. "The Phony Sexual Transgressions of Paul Verhoeven's Elle." The New Yorker (November 15, 2016)

Cribbs, John, James Hancock and Leanne Kubicz. "The Cinema of Paul Verhoeven." Wrong Reel #200 (November 2016)

Deighan, Samm and Kat Ellinger. "Sex Without Shame: The Telephone Book (1971) and Elle (2016)." Daughters of Darkness #27 (March 19, 2018) ["Kat and Samm return from a lengthy hiatus with this personal, boisterous episode that explores desire, consent, and sexuality by comparing two very different films: Nelson Lyon’s forgotten erotic classic, The Telephone Book (1971), and Paul Verhoeven’s challenging rape-revenge drama, Elle (2016). Made early in the porno chic period, before mainstream titles like Deep Throat (1972), The Telephone Book follows a young woman who becomes the target of an obscene caller. Instead of feeling victimized, she’s excited by the encounter and goes on a ribald odyssey through New York City to find her loquacious love. And though Elle’s approach is quite different, Kat and Samm discuss how it serves as an important counter example to the idea that such films can’t be made in recent years. Marking Verhoeven’s return to filmmaking in a decade, Elle stars the great Isabelle Huppert as Michele Leblanc, an unconventional business executive who is raped in her home by a masked attacker. Refusing to see herself as a victim, Michele becomes determined to learn her rapist’s identity and uncover his potential motivations. Hovering somewhere between domestic drama, rape revenge film, and black comedy, Elle explores complicated notions of power, consent, and intimacy."]

Elle Critics Round Up (Ongoing Archive)

Erbland, Kate. " Elle: Isabelle Huppert on Why Her Controversial Film About Rape Is ‘Post-Feminist.'" IndieWire (October 14, 2016)

Gleiberman, Owen. "‘Showgirls’ With Subtitles? The Demented Caveman Feminism of Paul Verhoeven’s Elle." Variety (December 11, 2016)

Hudson, David. "Paul Verhoeven's Elle." Keyframe (October 14, 2016)

---. "Paul Verhoeven’s Elle (Cannes 2016): 'The glee with which Verhoeven and Huppert openly defy any concession to cultural correctness is breathtaking.'" Keyframe (May 21, 2016)

Lee, Benjamin. "Isabelle Huppert: Elle is not about a woman 'accepting her rapist.'" The Guardian (May 21, 2016)

---. "Paul Verhoeven on Elle: 'It is Not a Rape Comedy.'" The Guardian (May 27, 2016)

Lodge, Guy. "Elle." Variety (May 21, 2016)

López, Cristina Álvarez and Adrian Martin. "Isabelle Huppert: The Absent One." Third Rail #10 (2017)

Nayman, Adam. "The Rules of the Game: Paul Verhoeven's Elle." Cinema Scope #68 (2016)

O'Malley, Sheila. "Elle." Roger Ebert (November 11, 2016)

Righetti, Jamie. " Post-Feminist Power: How Isabelle Huppert And Others Are Giving Us a New Kind of Movie Hero." IndieWire (November 8, 2016)

Scott, A.O. "In Elle, Isabelle Huppert Subverts the Role of Rape Victim." The New York Times (November 10, 2016)

Shaw, Dan. "Great Directors: Paul Verhoeven." Senses of Cinema (January 2003)

Singer, Leah. "Lost in Translation: Foreign-language Acting at the Oscars." Keyframe (February 2017)

Stevens, Dana. "Elle: Paul Verhoeven’s unsettling latest is a black comedy about systemic misogyny, a rape whodunit, and so much more." Slate (November 11, 2016)

Verhoeven, Paul. "Elle." The Close-Up #109 (November 9, 2016)