Posted in February 2012

The Criterion Files: La Commare Secca/Rashomon

The Criterion Files: La Commare Secca/Rashomon


Alright, gang: I’m crying “uncle”. I set out to deliver one installment of the Criterion Files every single week, but I’m tapping out and reestablishing the series as bi-weekly. Apart from the fact that watching two Criterion films every week is something of a tall order on top of my other movie watching and writing … Continue reading

Go, See, Talk! Review: Wanderlust, 2012, dir. David Wain

Go, See, Talk! Review: Wanderlust, 2012, dir. David Wain


This week, I caught a screener for David Wain’s Wanderlust, his and Ken Marino’s follow-up to 2008’s Role Models. The film has much more in common with the classic, beloved Wet Hot American Summer, though, which both speaks well for the movie and also just creates a lot of unfair comparisons. While it’s nowhere near the level of Wet … Continue reading

Review: Beginners, 2011, dir. Mike Mills

Review: Beginners, 2011, dir. Mike Mills


To a point, Beginners is somewhat opaque. The film doesn’t boast a complex narrative– even when it’s operating at full non-linear capacity– but the devices used to serve the story are, occasionally, perplexing. Parts of Beginners occur in the thoughts of its protagonist, Oliver (Ewan McGregor), who in his head contrasts the way the world and people … Continue reading

The Criterion Files: Drunken Angel/The Naked City

The Criterion Files: Drunken Angel/The Naked City


Welcome to the first entry in what I intend to fashion into a weekly series. As the name suggests, the focus here is Criterion Collection films, the classics and masterpieces and unequivocal essentials that hold sway in cinematic canon. My goal? Grab two random entries from off of my shelf, or stream them through Netflix … Continue reading

Review: Senna, 2011, dir. Asif Kapadia

Review: Senna, 2011, dir. Asif Kapadia


As documentaries go, Senna may be best characterized as unabashedly partisan. From the moment the film begins, director Asif Kapadia clearly wants us to come to root for Ayrton Senna, the eponymous and deceased Brazilian Formula One racer. Kapadia’s concerned little and less with objectivity. He’s an admirer, and largely his film rides on the hope … Continue reading