Are We Taking Color For Granted?
Jean-Luc Godard's 10th feature film reminds us what color once meant for cinema, and just how far we've strayed from it.
Film & TV
Anderson's Potent Take on the Paternal Bond
One of the biggest complaints about Wes Anderson is that his films, down to their smallest detail, exude pretension. His newest film, The Phoenician Scheme (2025), is like sitting in a philosophy seminar, or perhaps more fittingly, an art history seminar, listening to privileged undergrads overanalyze the importance of an
What Does “Greatest Movie of All Time” Mean, Exactly?
We have an obsession with lists and aggregated polls that crown a single film as the champion of the art form, but we think precious little about what we mean by that prestigious label.
The Calculated Discomfort of Queer (2024)
Queer (2024) is a dizzying depiction of the disjointed existence of Lee (Daniel Craig), an expatriate living in Mexico City, whose life has been consumed by fervent drug use and lust. The film is an interesting experience, to say the least, especially given the grip that Call Me By Your
David Fincher and Gendered Excess
There's a certain genre of film that I've actively avoided throughout my life, that being the excessively acclaimed, oversaturated collection of films that cinephiles relentlessly reference. It's not that I actually thought these films were bad; most were quite good or at least entertaining,
Sinners and the Dangers of Integration
Ryan Coogler's bluesy horror shows us that fusing cultures together often means suffocating the less privileged one.
Through the Olive Trees (1994) and Suspension of Disbelief
Through the Olive Trees (1994) is a film I understood long before I was able to properly watch it. During my first year of college, my screenwriting professor played the film's final sequence over and over again, about 20 times, before allowing us to process it altogether...