A graduate student of arts journalism at the S.I. Newhouse School of Public Communications, Greg writes essays and criticism on film (mostly older films), independent music, jazz, and literature. Miles Davis, Raymond Chandler, and Pauline Kael are perennial obsessions of his. He’s also a theater critic for the Central New York theater website Green Room Reviews: http://greenroomreviews.com/tag/greg-cwik/
He’s also on Twitter: @gregcwik1
Wednesday, December 19 2012
However you define atmospheric music, the albums on this list make a powerfully impressionistic impression. Just don’t expect to find warmth or love in them.
Wednesday, November 14 2012
At her best, Pauline Kael was everything a film critic should be: passionate, knowledgable, in love with the movies and writing about them, willing to defend her reviews, and vicious. She was also everything movie goers despise in a critic: well-educated, argumentative, stubborn, and vicious.
Wednesday, December 5 2012
James Wood's new collection of essays and reviews, The Fun Stuff, at once subverts the critic's elitist persona and fortifies it.
Sunday, November 11 2012
Sam Mendes’ virtuoso control behind the camera mesmerizes and hypnotizes, his depiction of Depression-era America a stasis of tragedy, each death inevitable but slow to ferment.
Sunday, November 4 2012
Michael Chabon writes with empathy, with earnest reflection and self-consciousness, pervaded by sepia-daubed nostalgia.
Sunday, March 17 2013
Richard Ford writes the way Robert Altman directs: meandering, wavering, opaque and loose but not unfocused or ADHD-hyper, long sentences like long takes zooming in and pulling back and fluttering like passing daydreams.
Monday, March 11 2013
His sax leads might lead to sex, but his prose might make you doze.
Sunday, February 24 2013
How Literature Saved My Life is a writer lying himself out on an operating table, using art—movies, music, literature—as a scalpel, and somehow managing to spill very little blood.
Monday, January 14 2013
This is Greil Marcus: he views the end of the ’60s and the start of the ’70s through the changing aesthetics of the Rolling Stones, and offers his most tender response when asked about, in this case, Elvis. But when asked about himself, he just shuts down.
Wednesday, December 19 2012
I picked up this book with tears of joy streaming down my face, thanking the cosmos that someone finally wrote an exhaustive book for horror fans. But my tears of joy turned to tears of anguish, my fists clenched strands of hair wrenched from my head.
Tuesday, October 30 2012
ERAAS doesn’t so much sound like the score to a film never made, but rather it evokes the sense of a long-lost film, a celluloid soul trying to renter the world and regain relevancy -- the ghost of a film about ghosts.