You Were Never Really Here – Review

You Were Never Really Here, Lynne Ramsay, 2018 In his sleeve notes to Joy Division’s 1979 double-single, Licht und Blindheit, Jean-Pierre Turmel writes that “categories of anguish tend to mesh together: the oppression of depths and the closed evoke the dread of the void ... the corridors [of the] dead resound in the far depths… Continue reading You Were Never Really Here – Review

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Black Panther – Review

Black Panther, Ryan Coogler, 2018 Formative in many a hero's mythology is his reckoning with the act of killing. Will he, in the service of his good, countenance taking life - any life? Superhero stories have long taken this issue as a point of defining thematic principle and long done nothing especially interesting with it:… Continue reading Black Panther – Review

Tomb Raider – Review

Tomb Raider, Roar Uthaug, 2018 There are two elements that make Tomb Raider, an otherwise entirely unremarkable piece of hackwork, watchable. The first is that it operates predominantly as a survival picture. That's distinct from the origin tale doldrums of try/fail/train/succeed to which the pestiferous superhero genre seems to have consigned blockbuster storytelling, and - with… Continue reading Tomb Raider – Review

Faces Places – Review

Faces Places, Agnès Varda and JR, 2017 Fine, you've dragged it out of me: I don't like street art. It's annoying and facile and its doyens seem the sort of self-regarding pseuds more interested in being provocative than actually interesting. As a term its affected edginess ('not your mother's' art) and genesis as a sort of… Continue reading Faces Places – Review

I, Tonya – Review

I, Tonya, Craig Gillespie, 2017 Near enough the third act tilt, the fellow in front – he’s got a beard and a gut on him and black suspenders – opens up his phone. Late 60s maybe, the brightness is turned up to full, and an index finger moments before employed skillessly to nudge his specs… Continue reading I, Tonya – Review