While I do not count myself amongst the franchise's devotees—I have read the first book and seen all the films, mostly out of anthropological curiosity—I have come to wonder whether some its most hostile critics might be engaged in what Eve Kosofsky Sedgwick calls "paranoid readings."
Over at The Thin Place, the podcast I host at Film Geek Radio, Todd Truffin and I have just wrapped a special episode on Giorgos Lanthimos’s Alps.
Part art therapy, part legal document (it contains footage of the mediation resulting from the director's lawsuit against the Roman Catholic church), part political argument, Keith Rennar's Of God and Gucci is the director's attempt to explain and understand the effects that years of sexual abuse had on him.
It is hard for me to say, precisely, when The Other F Word lost me for good.
When asked to describe his film, director Nathan Clarke said in an interview, he likes to say it is "everything you expect from the title and everything you don't."
To say that Bruce Robinson’s The Rum Diary was an unfocused mess would be implying that it left me with some sort of feeling after leaving the theater.
Garbo: The Spy is a sometimes surprising, sometimes amusing, always engaging documentary about a subject that most Americans paradoxically have heard lots but know relatively little about: espionage.
I don't say that it was a poorly conceived or executed horror film. It certainly seemed competent and, for all I know, it may very well be more skillfully done than most horror films. I just mean that I found it more disgusting than scary.
I thought I was going to get away without having to write anything about Alex Kendrick's Courageous, a film which is admittedly hard for me to be fair to at least in part because I'm not really the intended audience.
Real Steel is a hard film to not like, so about half way through I stopped trying and just gave myself permission to enjoy it.
