Napoleon: Not Dynamite!
Forty-six years and more than two dozen films ago, British filmmaking legend Ridley Scott made his feature debut with The Duellists, a thrifty but gorgeous account of a violent rivalry between two officers in Napoleon Bonaparte’s army. To their credit, his dueling American leads, the Brooklyn-reared Harvey Keitel and the Northern Californian Keith Carradine, made…
May December Interrogates Truth and the Lies We Tell Ourselves
Todd Haynes’ May December confronts our obsession with true crime, neat endings, and lurid headlines that become fodder for late night TV.
Comedy and Horror Collide in The ‘Burbs’ Critique of ‘80s America
Perhaps better suited for today’s audiences, Joe Dante’s oft-overlooked 1989 film starring Tom Hanks makes monsters of men.
Sorry/Not Sorry Uses the Fall and Rise of Louis C.K. to Prove Cancel Culture Isn’t Real
Sorry/Not Sorry, showing this weekend at Double Exposure, focuses on the women C.K. violated, and comedy’s inability to hold him accountable.
When Evil Lurks is the Grisliest Movie of the Year
Nobody is safe from the unnamed, unseen evil that wreaks havoc on a rural Argentine town in this buzzy new horror film.
Priscilla: Not a Love Story
Filmed with a muted palette, Sofia Coppola’s latest film lets the viewer watch from Priscilla’s eyes.
D.C.’s Frédéric Yonnet Lends His Music to Killers of the Flower Moon
The local harmonica player joined Scorsese’s team in 2019 with The Irishman; this year, his instrument became its own character in Killers of the Flower Moon.
The Horror of Don’t Look Now Isn’t in the Occult But Mundane Misery
Despite being known for its lurid sex scene, Nicolas Roeg’s Don’t Look Now avoids Hollywood sensationalism while making grief into a monster.
The Persian Version Is a Messy Immigrant Mother-Daughter Story With a Lot of Heart
The film paints a colorful portrait of an Iranian American family that crosses borders and timelines.
Killers of the Flower Moon Toils With the Fleetingness of Mortality and Morality
This might be Martin Scorsese’s most ambitious film, not just in scope but in terms of how he frames his own legacy.
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