Michael Fassbender

Oscar Isaac in "Ex Machina" / Tom Hardy in "Mad Max: Fury Road" / Karidja Touré in "Girlhood"

The 10 Best Movies of the Year So Far

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Well, kids, we’re closing in on the halfway mark of 2015, and you know what that means: lists! I kid, and not just because nobody needs a calendar as an excuse to make a list; you see, here on the movie beat, studios and distributors are so bent on unleashing their prestige movies in that… Read More

Tender

Does Tinder Make You Feel as Much Like a Slab of Meat as This Slab of Meat? Links You Need to See

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“All good things must come to an end” is a truism that, of late, the film and TV industries have been proving to be a false-ism. Until each and every granule of history and previously made art is plucked from its resting place and forced into contemporary “relevance,” we won’t have to face the fearful idea of…new ideas. And, unfortunately, it’s hard not enjoy a lot of these revisitations. Earlier, we ecstatically reported on the release of new images from the upcoming Wet Hot American Summer Netflix prequel, and, on the very same day, photos of the cast from the remake of the O.J. Simpson trial (okay, that was a real-life event) — aka Ryan Murphy’s American Crime Story: The People vs. O.J. Simpson — were released. Check out Paper‘s comparison of these images of the trial’s new cast members to those of the original cast…right, of real people. 
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Slow-West-Film

The Good, the Bad and the Unknown: ‘Slow West’s’ Perfectly Alien Vision of America

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In 2013, Michael Agresta wrote for The Atlantic, “For a century plus, we have relied on Westerns to teach us our history and reflect our current politics and our place in the world. We can ill afford to lose that mirror now, especially just because we don’t like what we see staring back at us.” Slow West, the debut feature by former Beta Band member John Maclean, is indeed a Western, but it isn’t so much a mirror image of America as it is a curiously bright, vivid and locationally distorted daymare — and it’s all the better for it. It’s been a while since a Western this good has been released, and it’s by a Scottish director, about a Scottish boy, and filmed on the opposite end of the world. A mirror, it seems, isn’t exactly what we needed.
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Cobie Smulders and Guy Pearce in "Results"

Flavorwire’s Guide to Indie Flicks to See in May

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As you may have noticed from the giant 50-megaton tentpole movie hitting theaters today, summer movie season is in full swing. Thankfully, a robust release slate in the hotter months isn’t solely a studio pursuit; this month’s lineup of independent releases is one of the best in recent memory, with a four-star mix of foreign pictures, oddities, genre flicks, and documentaries. Here are a few to put on your radar:
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Michael Fassbender and Kodi Smit-McPhee in "Slow West"

The Best and Worst Films of the 2015 Tribeca Film Festival

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Fiction films can be a trickier proposition at the Tribeca Film Festival than their nonfiction counterparts; for some time the fest had a reputation as a home for pictures that made the slate for the movie stars they’d put on the red carpet rather than the quality they’d put on the screen. That rep has fallen away in recent years, bolstered by a stronger slate of under-the-radar indies and faves from other festivals. Here’s a look at the 22 new narrative movies your film editor saw, and how they stack… Read More

jamie-dornan

‘Gone Girl,’ ‘Fifty Shades of Grey,’ and the Uncritical Cult of the Celebrity Penis

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People, notably we of the painstakingly non-objectifying left-leaning media, seem to get candidly titillated at the prospect of the exposure of celebrity penis. Because of the peen’s dominance over so much cultural output, and the prominent spectacle of its desires therein, discussions of the peen seem protected from the forces that’d normally call out objectifying representation and objectifying media discourse; this is kind of, it turns out, a cloak of invisibility that hides us from ourselves.
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