There’s a scene in Jane Campion’s “Bright Star” that I use very often when discussing art and our relationship with it.
At the end of the month, there will be a television anniversary that may not be significant to many.
Earlier this month when Donald Glover won the Emmy Award for Best Actor in a Comedy Series (his second that night), he quipped, “I want to thank Trump for making black people number one on the most oppressed list.
“Who drew the dicks?” This is the narrative hook on which Netflix’s new mockumentary comedy “American Vandal” rests.
Visual-media of the eighties seems to have a stranglehold on coming-of-age pre-teen films, don’t they?
The romantic comedy “The Big Sick” did not open in cinemas in Guyana, which seemed particularly odd.
Early on in Perry Henzell’s “The Harder They Come,” the film establishes itself as firmly aware of the cultural and cinematic context from which it emerges.
The new film “Atomic Blonde” is a hyperaware, pop-version of the excellent 2011 adaptation of the John le Carré Cold War spy novel “Tinker Tailor Soldier Spy.” For history and philosophy enthusiasts, the Cold War, with its dependence on subterfuge and paranoia, is a historical key to understanding the dubiousness of modern political affairs.
In mid-July, HBO released a brief press release about “Confederate,” an upcoming show from David Benioff and D.B.
I left “Dunkirk” with the word “liminality” on the tip of my tongue.
I kept experiencing a kind of cognitive dissonance while watching War for the Planet of the Apes, the last film in the rebooted trilogy.
Sofia Coppola’s new film, The Beguiled, begins like a fairy tale. The intertitle, pink and evocative, announce the time as three years into the American Civil War, we are in Virginia.
I remember reading Roger Ebert’s review of Midnight Cowboy for a class on American film.
Today marks the beginning of the second half of the year. 2017 has been a chaotic year in political and cultural terms but the arts continue to trudge on, offering a wealth of material to examine in these turbulent times.
This past week the Star Wars franchise was in some brief trouble. Phil Lord and Chris Miller, the directors of the yet to be titled Han Solo film, were abruptly fired from the project with a few weeks of shooting left.
Few words are spoken in Adero, the new short film from Guyanese filmmaker Kojo McPherson.
Wonder. Noun. A feeling of surprise and admiration that you have when you see or experience something beautiful, unusual, or unexpected.
The main dramatic trope which Everything Everything plays on dates back at least to 1848.
With underwhelming new releases on offer this week, I opted to veto a review in favour of examining something more intriguing–the cinema experience itself.
The Humanities, at its best, teaches us to think and to consider the act of creativity.
Norma Rae is a 1979 film about a textile mill factory worker who joins a union to challenge her employers after her workplace compromises the health of co-workers and herself.
Director James Gray’s The Lost City of Z is a languorous, pensive film that immediately sticks out amongst the releases showing in cinemas right now.
Going in Style boasts the Oscar winning résumés of its stars Alan Arkin, Michael Caine and Morgan Freeman.