Steve McQueen’s 12 Years a Slave is tense and unflinching. Its relentless intensity and graphic brutality has been the defining feature in the media, but it is also an essential part of the film and the primary reason it could become the most important portrait of American slavery yet on camera.
But in Choke, Victor’s hapless flounderings through sex and love are more reminiscent of the simple comedy that gets Judd Apatow films good ratings, and perhaps that’s some indication that a protagonist’s quest for a fulfilling relationship is more than enough of an issue for any film to tackle.
One day this summer, sitting in a blank white apartment that was not mine, I felt a strange weariness. This apartment was full of more books than I will probably ever read and I had fellowships to apply to and emails to write and the whole Internet in front of me and all of New York City clamoring outside.
Blue Valentine writer and director Derek Cianfrance’s latest film The Place Beyond the Pines is, if anything, a study in what Robert Penn Warren, legendary 1940s author of All the King’s Men, calls “the awful responsibility of Time.” We begin with Ryan Gosling’s character Luke Glanton, a reckless circus-performing motorcyclist. Seemingly out of nowhere, Luke has great responsibility thrust upon him when an old flame from an upstate New York carnival stop steps back into his life with his infant son.
As the recent New York Magazine article, “Why Do Women hate Anne Hathaway (But Love Jennifer Lawrence)?” thoughtfully explores, Anne Hathaway bugs people. Unlike the magnetic Jennifer Lawrence, Hathaway has always had trouble garnering public affection. For the most part, I try to stay away from the popular sport of celebrity hating that this article examines.
“These are Alma’s and the film’s first words. A cynic will scoff, but no, give a serious thought to this idea. How many of us have the courage to dream – how many of us have the courage to dispense with cynicism and see our dreams come true?”
Lena Dunham, a 23-year-old filmmaker from New York who has a degree in film studies from Oberlin, plays Aura, a 22-year-old Oberlin grad with a “useless” film studies degree, in Lena Dunham’s first feature as a director, _Tiny Furniture_, written … Read More
“To convert political horror into comedy might only be possible at the risk of transposing the profundity of mass death, racism, greed and systemic terror into something as trivial as quibbles over funeral decorations.”