Exciting news! I’m writing a new image essay column entitled “Meshes” for Kevin B. Lee’s excellent Keyframe Blog at Fandor. On a monthly basis, I’ll pick two films from different decades and examine how they stylistically and thematically overlap, using stills from each to juxtapose my thoughts.
My first entry highlights the aesthetic relationship between Miranda July and Maya Deren and two of their most well-know films. Meshes #1.
Kurosawa’s social elevator to the gallows, descending between two very different perspectives to reveal the outrage behind blue-collar frustration. It’s the art of verbalized swordsmanship . Review.
This picture proves the existence of Cinema Hell. My first entry for Keith Uhlich and The House Next Door‘s great “Summer of…” series is the impressively not-so-great Howard the Duck. Duck soup anyone? Review.
Every frame is a balancing act between heaven and hell, objects and faces. What a devil of a job. Review.
A requiem for a false dream glistens in one of Satyajit Ray’s greatest achievements. Review.
Soderbergh’s propulsive Haywire brings the pain. It was just one of the films I covered at the 2011 Comic-Con, an event as exhausting as a long weekend in Las Vegas. Comic-Con Coverage.
The arsonist’s confessional isn’t as balanced or ambiguous as it wants to be, committing the documentary genre’s greatest sin: narrative certainty. Review.
MATCH CUTS 