“With ‘Cosmopolis,’ a Limo Ride That Redefined Robert Pattinson’s Career”

With this byline, an article that one day will hopefully prove to redefine Andy Crump’s career. Continue reading →

“Films by Women: Four Movies to Watch from May (2019)”

Knock down that house and let the sunshine in! But mind the souvenirs! And don’t sing if someone else is singing! Continue reading →

Review: Let the Sunshine In, 2018, dir. Claire Denis

For a movie with such a cheery, upbeat title, Let the Sunshine In is determinedly melancholic. Check the director’s name and that makes sense: Claire Denis doesn’t really make straightforwardly upbeat movies, from Trouble Every Day to White Material, so naturally she’d make a romantic comedy dripping in sadness. But it’s a good kind of sadness founded on a real … Continue reading →

Review: Slack Bay, 2017, dir. Bruno Dumont

You know what? Normally I’d write a spiel here, but Slack Bay is kind of hard to give spiel to. It’s weird. It’s fucking weird, even, which is my impolite way of saying that it doesn’t fit easily into any category or genre. Basically, it’s Looney Tunes on France’s northern coast wrapped up in a comedy of manners … Continue reading →

Best of Criterion’s New Releases, June 2016

You can probably guess, based on the header, that Fantastic Planet is my favorite release from The Criterion Collection’s June slate, but it’s so hard to choose: Everything this month is great, though my compadres at Paste Magazine and I were only able to get through four of them. Just four! That’s a fraction of the slate’s … Continue reading →

Review: The 33, 2015, dir. Patricia Riggen

“Patricia Riggen’s The 33 ends appropriately with a seaside reunion between its cast’s real-life counterparts: The cadre of Chilean miners who lived buried beneath a mountain for 69 days in the 2010 Copiapó mining calamity. One by one, Riggen introduces her audience to these men in a beautifully lit scene that pays homage to the … Continue reading →

Review: Certified Copy, 2011, dir. Abbas Kiarostami

It’s difficult to say whether Juliette Binoche or Abbas Kiarostami is the star of the latter’s newest film, Certified Copy. Much comes to rest on Binoche’s delicate shoulders– the nameless character she plays is the only principal character in the film apart from co-star William Shimell– but Kiarostami’s direction, assured yet humble, constitutes bravura filmmaking … Continue reading →