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  • Wanda



    "What makes Wanda feel so expansive, and consequently so moving, is its sense of place. The opening is dominated by extreme long shots that track Wanda’s slow movement through the coal fields, and despite the film’s general neorealist handheld aesthetic, conventional modes of identification are eschewed at every turn. Scenes that would otherwise be considered crucial – for instance, a sequence showing how Wanda and Mr. Dennis’s relationship began between their first meeting at the bar and their first post-coital conversation – are entirely jettisoned, and the film in general sustains itself with a sparse, almost desolate mood."

    Reviewed this essential work for Seattle Screen Scene.

  • Mission: Impossible - Fallout

    Mission: Impossible - Fallout


    "Thus, what is perhaps most surprising about the latest installment in the series, Mission: Impossible – Fallout, is that it has maintained the same level of greatness while undertaking a radical change in the series’s style. Where the films up until this point were above all spy films, willing to sacrifice action sequences in favor of thrills delivered in a less overt – but just as flashy – manner, Fallout is an action film, delivering moment after moment after moment of truly astonishing, full-blown mayhem."

    On this film's considerable pleasures and thrills for Seattle Screen Scene.

Popular reviews

  • Batman v Superman: Dawn of Justice

    Batman v Superman: Dawn of Justice


    Batman v Superman is a brutal film, but not in its attitudes towards the narrative, the characters, or the viewer. Instead, it is astounding in the frank, unrestrained, yet almost impressionistic approach towards the subject matter and the weighty themes at hand. Snyder and his collaborators are unblinking in their depiction of the violence and lack of heroics that take place in a changed, darker world that in many, many ways reflects our own, but, incredibly, make them palatable in…

  • Paris, Texas

    Paris, Texas


    The opening notes of Ry Cooder's score that accompany the title card are almost alchemical in the way they accomplish so much with so little. With this first salvo, along with the opening shot of Travis engulfed by the open desert that is implied to be from a bird's perspective, Wenders sets the mood and some of the themes of the overall film with astonishing clarity and precision. The dominant emotions are undoubtedly sorrow, regret, and isolation, but it feels…