David Fincher’s ‘The Killer’ Is a Deadly Satire of the Corporate World
You can read David Fincher’s The Killer as a story about a murderer, or you can see it as the satire of our pathetic little existence that it really is.
crime
Martin Scorsese’s ‘Killers of the Flower Moon’ Shows Genocide Is (also) a Private Affair
Martin Scorsese’s Killers of the Flower Moon is another storytelling masterclass and examination of 20th-century American histories of greed and destruction.
French Wartime Noir ‘Strangers in the House’ Haunts
Whether as a star vehicle, a Simenon mystery, a wartime allegory, or merely a studio product, Strangers in the House is a rewarding French film that’s gone largely unnoticed.
Actor Aidan Gillen on His Role in Noir Love Letter to Dublin, ‘Barber’
Irish actor Aidan Gillen talks about his lead role, and the freedom given to him to define his character, in Fintan Connolly’s Dublin-set modern noir, Barber.
Fragments of a (Diabolical) Dream: Vojtěch Mašek’s ‘The Sisters Dietl’
Reading Vojtěch Mašek’s s diabolical and superb The Sisters Dietl is like consuming a many-layered pastry laced with something hallucinogenic.
Comedy Series ‘The Afterparty’ Is Among the Last of Its Kind
The second season of Apple TV’s funny, inventive, and self-indulgent comedy whodunnit The Afterparty is utterly unnecessary in the best way.
The Claustrophobic Drama in ‘In the Name of the Father’ Still Haunts
The claustrophobic atmosphere in biographical crime drama In the Name of the Father creates a world where evil actions are made more remorseless by the silence surrounding them.
French Pop Cinema of the 1960s Brings Tintin to Life Twice Over
Tintin is one of the secret engines of 20th Century pop culture in Europe and Hollywood, as shown in these James Bond-like movies for the elementary school crowd.
Yuppies, Punks and Sociopaths Congregate in Scorsese’s ‘After Hours’
In After Hours, Scorsese’s camera wanders through a tableau of living and breathing graffiti incarnated as ’80s New York City’s most dangerous bottom-feeders.
Lars Von Trier’s ‘Europa Trilogy’ Is Spellbinding, Hypnotic Melodrama
The three Lars Von Trier films in Criterion’s Europa Trilogy aim to hypnotize viewers with formal visual styles more important than the story, so they fly in the face of most Art House fare.
Scorsese’s ‘After Hours’ Subverts the One Crazy Night Genre
In Martin Scorsese’s 1985 art punk gem After Hours, a yuppie lost in SoHo is terrorized not so much by the late-night characters but by the city itself.
‘The Crowded Room’ Has Too Many Angles Crammed Into It
The Crowded Room tries to be a psychological drama, a coming-of-age story, and a law procedural culminating in courtroom maneuvers and meltdowns – all angles that crowd its premise.