Bringing Back the Erotic Thriller

By: notmckinzie
Featured, Film, Opinion, , , , , , , , , , , , , , , , Leave a Comment on Bringing Back the Erotic Thriller

A genre long considered passé is coming back into the limelight. Streaming is the final destination for the erotic thriller. As a genre no longer popular with theatergoers, or so studios think, erotic thrillers have had to latch onto other means of distribution. Since about the late 00’s, thrillers in general have fallen out of…

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A young girl with brunette hair (McKenzie) wearing a green patterned beanie and green jacket. She is standing in front of a wooded area.

Roles in Retrospect #1 – Thomasin McKenzie and ‘Leave No Trace’ (2018)

By: Hayley Paskevich
Columns, Featured, Film, Roles in Retrospect, , Leave a Comment on Roles in Retrospect #1 – Thomasin McKenzie and ‘Leave No Trace’ (2018)

In our first edition of ‘Roles In Retrospect,’ we focus on talented young New Zealand actress Thomasin McKenzie and her performance in 2018’s ‘Leave No Trace’.

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REVIEW: ‘Evil’ Season Two Takes on Body Horror, God, and Motherhood

By: Sharmane
Reviews, TV, , Leave a Comment on REVIEW: ‘Evil’ Season Two Takes on Body Horror, God, and Motherhood

Refusing to place all its hopes in both state and religion as god-given arbiters of justice, season two of Evil reinvents the crime procedural by suggesting that ideas of good and bad are not given, but made, remade, and brutally scapegoated onto people.

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A close-up shot of 964 (Haji Suzuki) in clown makeup, chained up and shouting on the streets of Tokyo.

‘√964 Pinocchio’ (1991): Vengeful Outcast, Emetic Spirit

By: Tyler Simeone
Essay, Featured, Film, , , Leave a Comment on ‘√964 Pinocchio’ (1991): Vengeful Outcast, Emetic Spirit

“As a narrative revolving around members of a loathed social underclass, ‘√964 Pinocchio’ [grapples] with conceptual otherness through the fundamental human fear that that which belongs in the body will find its way out.”

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A black and white image of a man and woman in a car. The woman is seen from the side, looking away, while the man wears glasses and appears interested in what's outside the window.

Watching ‘Night of the Living Dead’ (1968) in the Wake of a Pandemic

By: Claire Davidson
Essay, Featured, Film, , , Leave a Comment on Watching ‘Night of the Living Dead’ (1968) in the Wake of a Pandemic

Night of the Living Dead may have been released over fifty years ago, but as its own circular nature observes and predicts, so little has changed from the small-scale revival of the dead America is not able to grieve.

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A group of women getting ready to board an airplane. They are dressed in a variety of styles, from glamorous to casual, and have a range of body types, appearances, and facial expressions. At the front of the pack is Melissa McCarthy's "Megan" and Rose Byrne's "Helen". The rest of the film's ensemble cast of women can be seen trailing behind them.

Always a Bridesmaid and Never a Bride, Until Now: How ‘Bridesmaids’ (2011) Allowed Women to Take the Front Seat in Comedies 

By: mmstein
Essay, Featured, Film, , , , Leave a Comment on Always a Bridesmaid and Never a Bride, Until Now: How ‘Bridesmaids’ (2011) Allowed Women to Take the Front Seat in Comedies 

“Aside from being groundbreaking and hilarious, there is a lot to ‘Bridesmaids’ that often goes unappreciated.”

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‘Solaris’ (2002) is a Romantic Sci-Fi Film That Needs Revisiting

By: Ceridwen Millington
Essay, Film, Opinion, , , , , , , , , , , , Leave a Comment on ‘Solaris’ (2002) is a Romantic Sci-Fi Film That Needs Revisiting

“A movie that is refreshingly and sincerely romantic, marking a dramatic contrast not just to the great bulk of science fiction, but with modern mainstream cinema at large.” Science fiction is making waves once again. With the arguably unexpected success of Dune, a weighty space opera that offers complex lore, audiences may be primed for…

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Doug is engaged in performance, a white cloth strung across his bare chest and figures draped in blue holding another white cloth above his head

REVIEW: ‘I’m An Electric Lampshade’ (2021) Has A Weak Spark of Life

By: Ceridwen Millington
Film, Reviews, , , , , Leave a Comment on REVIEW: ‘I’m An Electric Lampshade’ (2021) Has A Weak Spark of Life

This tale of accountant-turned-artist is never clearly docudrama or pure fiction, making for a bizarre watch.

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REVIEW : The Unsuspected Hero of ‘The Courier’ (2020)

By: carolinehvd
Film, Reviews, Uncategorized, , , , , Leave a Comment on REVIEW : The Unsuspected Hero of ‘The Courier’ (2020)

‘The Courier’ is a tense, well-orchestrated spy movie. As a veil of secrecy and anticipation, heightened by mutual threats from both USSR and United States, bears over humanity at the dawn of the Cold War, Greville Wynne (Benedict Cumberbatch) is recruited by MI6 to spy on the opposing force. Greville had this far worked as…

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Therese Shechter, a middle-aged white woman with short curly blonde hair, stands in front of some streamers. She looks at the camera and smiles. Her lips are closed and her arms are crossed, and she wears a long-sleeved black top.

INTERVIEW: Therese Shechter on The Institution of Motherhood in ‘My So-Called Selfish Life’ (2021)

By: Gala Woolley
Featured, Film, Interview, , , Leave a Comment on INTERVIEW: Therese Shechter on The Institution of Motherhood in ‘My So-Called Selfish Life’ (2021)

In her paradigm-shifting documentary, feminist filmmaker Therese Shechter explores the lives of childfree women, and examines motherhood as an ingrained societal institution.

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