“Films by Women: Five Movies to Watch from June (2020)”

Judy knocks out all of Punch’s babyteeth while Shirley sits in the corner saying, “never, rarely, sometimes always would I knock a man’s teeth out.” Continue reading →

“Films by Women: Five Movies to Watch from May (2020)”

We got some fluff, we got some horror, we got some screwball comedy, we got some psychosexual drama…we really got it all! Continue reading →

“The Year’s Best Movies About Men Were Directed By Women—And Snubbed By The 2019 Oscars”

Men are in the spotlight at this year’s Oscars, but not women, even though women directed the best movies of 2018 that happen to be specifically about men. Natch. Continue reading →

“Films by Women: Four Movies to Watch in November”

This is maybe the first Films By Women spotlight I’ve done where I am guilty of not seeing one of the movies on the list, or, in the case of Kino Lorber’s Pioneers: First Women Filmmakers set, any of them; I didn’t have an “in” to score a review copy, so I had to review this more … Continue reading →

“Films by Women: Five Movies to Watch in October”

Guys. Guys. Gals, too: We did it! We managed, for the first time in a long time, to drop a “films by women” column in the month it’s intended for! I’ll take the credit for this, but only because I take the blame for them not dropping in a timely fashion for the last few months … Continue reading →

Films by Women: Five Movies to Watch in January

New year, new feature. For context, I wrote a very long piece about my experiences completing the #52FilmsByWomen pledge in 2017; that piece didn’t pan out, being both too lumbering, too unfocused, and too performative for its own good. But there’s a positive outcome here, being this, a monthly feature for Paste Magazine, highlighting four to five … Continue reading →

My Most Anticipated Films For IFFBoston ’16

If you have been tuning into this space for the last week and wondering why I have posted exactly zero new updates, it’s because I’ve been gallivanting around Bermuda since the 12th. But I’m back in Boston, and with eight days to spare before Independent Film Festival Boston’s 2016 rumpus, I’d say it’s about time … Continue reading →

2011 Rising: My Films to Watch (pt.1)

For me, 2010’s in the bag, but it’s not totally wrapped up until I take the time to ruminate over the upcoming slate of movies in 2011 that excite me, discourage me, intrigue me, or puzzle/offend me (and, of course, also post the rest of my top ten, which is, I promise, coming around the … Continue reading →

Review: XX, 2017, dir. Roxanne Benjamin, Annie Clark, Karyn Kusama, Jovanka Vuckovic, & Sofia Carrillo

I love a good horror movie anthology, and XX is a good horror movie anthology. It’s also a necessary film if you’re bothering with that whole #52FilmsByWomen hashtag, an endeavor I can neither recommend nor condemn; it’s important to seek out movies by women and watch them, but if half of the 52 films by women … Continue reading →

Review: The Strange Ones, 2018, dir. Christopher Radcliff & Lauren Wolkstein

Here: Have some context. I saw The Strange Ones back in the summer of ’17 when a team of publicists were nice enough to send me a screener for the purposes of adding to my #52FilmsByWomen list. I waited for the film to become commercially available, and I waited some more, and then I stopped waiting … Continue reading →

Best of Criterion’s New Releases, September 2017

Good news! I’m still here. I’m suffering a writer’s drought, but I’m still here. And here’s our first break in the drought: Paste Magazine’s monthly Criterion Collection round-up, this time for September (because that’s how months work). As with most Criterion months, September ’17 is pretty good, I think; I can’t speak for a couple … Continue reading →

The Criterion Files: Le Doulos/Shoot the Piano Player

We’re back with another installment of The Criterion Files– this time with a double feature of the French persuasion. Three entries and six films in, this is still the first File to touch on the many numerous and great French filmmakers championed by the Criterion collection (and, as an aside, French films do seem to … Continue reading →

Review: Bellflower, 2011, dir. Evan Glodell

Flamethrowers, precarious romance, badass muscle cars, and directionless, angry young men make for a potentially cataclysmic cocktail. So goes the narrative of Evan Glodell’s Bellflower, a tale of love and apocalypse and slackerdom and possibly the most aesthetically unique film of the year. Glodell, who not only directed the film but also wrote the script … Continue reading →

Review: Bridesmaids, 2011, dir. Paul Feig

(Alternate title: In which A Constant Visual Feast becomes a social pariah within the film blogosphere.) The primary emotion that characterizes my reaction to Paul Feig’s Bridesmaids, the sleeper hit comedy of the year, is disappointment. Crushing, heavy, appalling disappointment. Coupled with that, denial; I don’t want to acknowledge my disappointment. I don’t want to … Continue reading →

The Cinematic Decade: My Top 25 of the 2000s (pt 5)

Coming down the home stretch of this series. For those just tuning in: Part one, part two, part three, and part four for your reading pleasure. 5. Knocked Up: Ben is a lovable stoner loser with no direction or genuine ambition; Alison is a career-oriented young woman who recently received an on-air promotion at E! … Continue reading →