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  • Kiss Me Deadly

    Kiss Me Deadly


    No narration, no flashbacks, little-to-no subjective camerawork, and yet it's still somehow the ultimate film noir. The very manifestation of the genre's depraved, ugly heart, and then it goes beyond that into something truly strange and unknowable; we are finally out of the past and into the future.

    Most interested in this viewing in how the film positions Mike Hammer as a friend of immigrants, and the way in which the film is largely set in a lower class milieu--small,…

  • Kabhi Khushi Kabhie Gham

    Kabhi Khushi Kabhie Gham

    I love this movie. I wrote a little about the way the film approaches globalization for my class:

    In the 9th chapter of his book Producing Bollywood, Tejaswini Ganti discusses how Bollywood has largely moved away from making films for the working class, now making films for the gentry. Yet, rather than labelling these two groups as the lower and upper class, they are set up as the “local Indian” and the “global Indian.” Thus, class in India is established…

Popular reviews

  • La La Land

    La La Land


    There's a moment early on this film that nicely summarizes Damien Chazelle's approach to music and art: Ryan Gosling, sitting at his piano, puts on a jazz record, which begins with a complicated piano riff. He stops the record, plays the riff on his piano exactly as heard on the record, messes up, then spins back the record, replays the opening, and mimics it again. It's the same methodology behind the "Play one wrong note and you DIE" premise of…

  • From Nine to Nine

    From Nine to Nine

    We on an ultra-left screed
    We on an ultra-left screed
    This is a Neil dream

    (Congrats Neil!!!)