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  • The Tree of Life

    The Tree of Life


    “He was in God's hands the whole time. Wasn't he?’

    Every one of Terrence Malick’s first four films deals in history. The Thin Red Line and The New World directly translate historical events, while Badlands and Days of Heaven can be categorized as historical fiction. From that standpoint, THE TREE OF LIFE is the first of a new phase in the director’s career; a phase filled with personal history and deep, often painful reflection.

    Malick, the oldest of three brothers,…

  • The New World

    The New World


    “Come, spirit, help us sing the story of our land. You are our mother. We, your field of corn. We rise from out of the soul of you.”

    In the wake of The Thin Red Line’s staggering success, Malick picked up another decades old script to become his next project. The idea for THE NEW WORLD had its origins in the late seventies as a potential follow up to Days of Heaven, before the director’s hiatus. After his return to…

  • The Thin Red Line

    The Thin Red Line


    ”If I never meet you in this life, let me feel the lack. A glance from your eyes, and my life will be yours.”

    For six months between 1942 and 1943, the Island of Guadalcanal in the South Pacific was the home to one of the deadliest battles of the Second World War. Allied forces fought a campaign to take control of the Island, which played a significant role in the eventual surrender of Japan. It’s curious, given the nature…

  • Days of Heaven

    Days of Heaven


    “Nobody’s perfect. There was never a perfect person around. You just have half-angel and half-devil in you”

    After regaling us with the exploits of a cold-blooded murderer, Malick’s second film opens up with a completely different kind of killing. When Bill (Richard Gere) gets into an argument, which the audience can’t quite make out amid the sounds of a steel mill, he accidentally lands a blow that kills his foreman. Bill rushes home, grabs his girlfriend and his baby sister…

  • Badlands



    “He wanted to die with me, and I dreamed of being lost forever in his arms”

    In 1958, when he was captured by police in Wyoming, Carl Starkweather had killed eleven people and two dogs. Over the course of two months, a 19-year-old in Nebraska became one of the most notorious killers in American history. While Starkweather was the one with the reputation, his accomplice is the one who became the focus of Badlands, Terrence Malick’s 1973 fictionalized version of…

  • Inherent Vice

    Inherent Vice


    I wish you could see these waves...

  • Palm Springs

    Palm Springs


    It’s best to go into PALM SRINGS, the latest Lonely Island project, without learning too much about the plot. It’s a film that lends itself to comparisons a little too easily, particularly to a certainly comedy classic. The film itself however does more than enough to stand on its own, and will benefit from distancing itself from its predecessor.

    In Palm Springs, we find Andy Samberg (in full on Popstar- level form) and Cristin Milioti trapped in a love story…

  • Tesla



    About 20 minute into Michael Almereyda’s Nicola Tesla biopic, after narration that references Bob Dylan and a few other quick anachronisms, Anne Morgan (Eve Hewson) pulls out a MacBook and Googles the film’s subject. Suffice it to say that TESLA is an unconventional biopic.

    Ethan Hawke is our Tesla in this film, which serves more as an exploration or what the scientist’s work meant, and what his legacy has become rather than a straightforward retelling of his life or his…

  • Ema



    Pablo Larrain’s latest feature film is a film about a woman who, much like the film itself, defies categorization. Ema (Mariana Di Girolamo) is a professional dancer in her early twenties, married to an older man (Gael Garcia Bernal) and suffering in the aftermath of a domestic drama that saw her lose custody of her adopted son.

    EMA is film that refuses to give us even the smallest details of its heroine’s life in a convenient way. Larrain’s script drops…

  • Black Bear

    Black Bear


    This review may contain spoilers. I can handle the truth.

    It’s impossible to talk about BLACK BEAR without giving away too much of what the film really is. Essentially, Allison (Aubrey Plaza) is a filmmaker, suffering from writer’s block, who takes up residence in a lakeside cabin for a weekend with the couple who own the property. Drama ensues, sexual tensions are elevated and the film plays out like the most intense mumblecore movie since Frownland.

    This description only gets to the surface of Black Bear, however, which switches up…

  • The Nest

    The Nest


    This review may contain spoilers. I can handle the truth.

    At its core, Sean Durkin’s first film in nine years is the story of a family breaking apart. As the children grow into and out of adolescence respectively, The O’Hara family starts to crack under the pressure of a trans-Atlantic move. THE NEST is clearly a deeply personal film for Durkin and one that incorporates a number of autobiographical elements. There is so much care put into this film that it feels incredibly dense at 107 minutes and manages to…

  • Downhill



    During his acceptance speech for Best Foreign Language Motion Picture at the Golden Globes a few weeks ago, director Bong Joon-ho implored American audiences to “overcome the 1-inch barrier of subtitles,” and become exposed to foreign cinema. DOWNHILL is a prime example of what Bong is talking about: an American remake of a successful Swedish film, casting massive stars and trading in the insightful wit of the original for broader comedy.

    Because of this, Downhill will certainly become the butt…