6 Best Movies To Watch After The Young and the Damned (1950)
May December
In such films as Superstar: The Karen Carpenter Story, Velvet Goldmine and I’m Not There, filmmaker Todd Haynes has taken the stories of famous people and utilized what we know—or think we know—about them to explore ideas about celebrity and our all-consuming need to render their often-complex stories into straightforward narratives. That strange compulsion to explain, understand, and commodify the lives of real people is at the heart of his latest work, May December, and it certainly seems to have sparked something in him because the end result is the strongest work that he has done in quite some time. Continue Reading →
Breakfast at Tiffany's
John Carney's new drama is just one of a diverse collection of features at this year's Toronto International Film Festival. This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the works being covered here wouldn't exist. Irish filmmaker John Carney made his big breakthrough in 2007 with Once, a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. This was followed by Begin Again (2013), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. After that came Sing Street (2016), a film focused on the redemptive power of music and its ability to bring people, whether they are strangers or family, together in the pursuit of creating something that allows them to give voice to their once-buried hopes and desires. Continue Reading →
Blue Jean
A portrait of a closeted lesbian woman living in England during Margaret Thatcher’s oppressively homophobic 1980s reign, Georgia Oakley’s Blue Jean illustrates a unique paradox for a critic. How does one navigate criticizing a film’s self-imposed binaries while also accounting for the realities of a restrictive period, the gravity of the subject matter (and parallel current circumstances), and the differentiation of what is intended as cinematic affect and what constitutes clumsy filmmaking? Continue Reading →
Heroico
The military drama Heroic overcomes cliché to capture structural horror. A significant string of recently released movies centralize crises of faith. The lead suffers abuse, boiling until they burst. Perhaps it’s a sign of the times, a subconscious metaphor for how authoritarianism and the crushing realities of oppressive institutional forces are increasing the temperature and pressure of the citizenry that will inevitably lead to a rupture. In 2022 there was God’s Country, The Beasts, and Women Talking. Now at Sundance, we have Heroic, a Mexican drama unfolding inside a military school. Director David Zonana’s film may resemble several movies that use this same arc. However, it distinguishes itself with careful direction and surreal depictions of how the mind processes abuse and vengeance. Zonana films hazing rituals and routine drills with an eye for visual geometry that distinguishes power levels. Young recruits, referred to as “potros” (colts), always move on the sides of the frame or undistinguished as square or triangular squadrons when conducting gun rituals. Officers remain centered, maintaining authority with both direct physical presence and as a distant watchful eye. Continue Reading →