Spike Lee’s inventive debut is a continuation of past (George A. Romero’s Night of the Living Dead, David Lynch’s Eraserhead, and Leos Carax’ Boy Meets Girl) and further (Kevin Smith’s Clerks and Darren Aronofsky’s Pi) iterations of a convenient tradition in budget filmmaking—debuts shot in black and white as a choice borne by necessity first, and then style. Buoyed in large parts by a Bohemian … Continue reading She’s Gotta Have It (1986)
De Niro pretending he’s a handicapper pretending he’s a hotelier never gets old. Continue reading Casino (1995): Better than Goodfellas?
What does this film say about success if a tone-deaf, off-key wannabe singer can find a measure of it? Continue reading Hit Record (2020)
In The Wicker Man, the intrigue lies beyond simple machinations. And it is in the periphery where the film leaves its mark. Continue reading The Wicker Man (1973)
It does not transcend standard fare precisely because elevating its legend to esoteric knowledge makes it inaccessible and exclusive. Continue reading The Ritual (2017)
Oriol Paulo specializes in middle-of-the-road thrillers despite incidental facade and roadside attractions. Continue reading Mirage (2018) Netflix