Film

Boston Rules

The city became the go-to for a very specific type of crime movie, but Spotlight is the first film to truly capture it since Good Will Hunting. 

Mainstream Creep: Keeping Feminist Film Criticism Subversive

Feminist film writing has historically struggled with a problem of reach limited by privilege. Can online journals solve the access issue without bowing to popular influence? 

Winona, Forever

Ryder has always been trapped in her own anticipatory nostalgia, and the public has always wanted to keep her there.

A Perfect Companion: On Alan Rickman

He does the job so well you don’t notice he’s doing it better than anyone else could. 

 

Unearthing the Sea Witch

Ursula was a singular Disney villain, and behind the animated tentacles was a real-life, big-haired, poo-eating Baltimore drag queen named Divine.

The New Daughters of Bollywood

The rising influence of women in Indian film has been crucial to how their stories are told on and off-screen, putting more power into their hands. 

A Thriller Without a Body Count: On Patricia Highsmith and Carol

Originally published under a pseudonym, the novel inspiration behind the latest Cate Blanchett film is the kind of thriller you would expect from the author of The Talented Mr. Ripley. 

Fluttering Into Annihilation: The Forbidden Room and the Un-Canon of Lost Films

Guy Maddin’s new feature imagines “unrealized, half-finished or abandoned films by otherwise successful directors” not as artifacts to pine after but as the accumulated muck of cinematic history.

Jackie Chan: The Anti-Ai Weiwei

Despite its ostensible Hollywood-friendliness, the action star’s new film, Dragon Blade, bears all the hallmarks of his late-era work—namely, a propagandist’s sense of not wanting to rock the boat.

‘Claim Your Own Dancefloor’

The director’s cut of 54 brings the film closer to the club’s brand of disco-as-spectacle.