I was surprised to learn that this is in fact not a movie based on the Everclear song of the same name, but instead another entry in Gemma Arterton’s period movie resume.
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.”
It isn’t Juneteenth anymore, but that doesn’t mean you can’t or shouldn’t enjoy this movie, and also enjoy this conversation with its author.
A conversation with one of the great, enigmatic American filmmakers? Shirley you jest.
We got some fluff, we got some horror, we got some screwball comedy, we got some psychosexual drama…we really got it all!
The first honest-to-goodness “about the COVID-19 outbreak” article I’ve written. Sort of. Anyways, have some films by women.
It’s bad enough working a job where you barely have time to eat, and worse when the person you’re starving yourself for is a bastard.
This is a movie, but also the epitome of a blockbusting year spent making overdetermined, obnoxious , totally disingenuous proclamations of feminine heroism.
Darin’, you don’t need to give up on booksmarts if you want to be a hustler. You just have to remember that satanic panic is always in season.
Vita, Virginia, Mexican cartel members, tigers, nightingales, Aboriginal trackers, heroin addicts, and more converge in August’s round-up.
Knock down that house and let the sunshine in! But mind the souvenirs! And don’t sing if someone else is singing!
In which we take a trip to the unicorn store before hiking up a rock to live the high life and also there’s a dead body.
One of my favorite movies of 2019 goes right alongside a new Netflix original comedy straight from down under in February’s Women In Film Spotlight. In March.
Touch me not as the corpses tan, while remembering all these small moments at Rust Creek with Mike and Nicky. (Translation: Here are some movies by women available in January.)
It’s the last “Films By Women” piece of 2018! I bet you’re pretty bummed. But it’s okay; there’ll be other lists soon. Like, “in a month” soon. We’re already getting our 2019 watching underway over here in Andy Crump land. (There is no “we.” I am using the royal “we.” It’s my blog! I …
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 …
Weird to see a “women’s film” spotlight focused on movies from September posted in October, but, uh, mea culpa and such as that. The dog ate my homework. I dunno. There’s not a great excuse for the delay; that being said, I’d still offer that documenting the movies on Septembers slate matters, because some of …
April is such a good month for movies directed by women* that this month, for Paste Magazine‘s Films By Women spotlight, we used three in-theaters movies and only two at-home movies to round out the list. Pretty neat! And those in-theater movies are pretty great, being Zama, Blockers, and You Were Never Really Here, which you already know my …
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 …
I’m sort of tired of comedies that adopt the simple method of point-and-shoot – see The Big Sick – but I can forgive them for mere adequacy of craftsmanship so long as the writing is both a) good, and b) doesn’t overstay its welcome. In the case of Mr. Roosevelt, I get the sense that the film’s …