I can't wait for the kids to get it when they're older, to find themselves in history class hearing about things that echo deeply-buried memories of a DreamWorks animated film they saw in 2014.
Jarmusch’s moments embody his uniquely non-narrative spirit that persists still within a more traditional framework. The Jarmuschian dance becomes the urge to stay put and hang out against all odds, as Jarmusch, more than any other American director, continues to walk the line between European art-house and Hollywood cinema.
Indeed, it is convenient to place New Centurions in relation to the earlier Dirty Harry, Bullitt or The French Connection. One of the glaring tensions in this comparison is that New Centurions lacks a hero.
"Today a lot of shorts run in the structure of a joke, a brief set up preceding a punch line. Or they are stepping-stones to make a feature, a teaser or a snippet of an action scene of a bigger story. But I wanted to make something completely satisfying, beginning, middle and end, all within...
Alexander Tsebelis reviews the new film iteration of the favorite TV show Veronica Mars.
"While Simon’s meek longing for Hannah expertly triangulates the funny/creepy/cute sweet spot that a certain kind of film always seems to be striving for these days, this formulaic pining can’t match the free-floating sexual anxiety of Kafka’s The Trial for incisive sting."