
‘RachelOrmont’ Is Peter Vack’s Candy-Colored Feel Bad Shock Cinema
Peter Vack’s candy-colored RachelOrmont dares the squeamish to reckon with the schizoid darkness happening on cellphones all around them.
Features, reviews, interviews, and lists about film, covering the latest as well historical topics.

Peter Vack’s candy-colored RachelOrmont dares the squeamish to reckon with the schizoid darkness happening on cellphones all around them.

The incredible power in Diane Keaton’s genius is that she was all loveliness and light. She didn’t need a comedy bit to be funny or appealing. She was enough.

In Claire Denis’ arch and darkly funny film, The Fence, colonialism isn’t history, it’s not even past.

James Sweeney’s Twinless argues that the loneliness of contemporary, late-stage capitalism life is perpetuated by the very things that attempt to remedy it.

Jim Jarmusch’s low-key comedy of awkwardness, Father Mother Sister Brother explores the things we can never know about our families.

In Paul Thomas Anderson’s dark comedy One Battle After Another, the liberationist politics of the 1960s make for a good show and a dead end.

Despite its flaws, Israel Palestine on Swedish TV 1958-1989 is a meticulously detailed study of conflict and hauntingly foreshadows the current moment.

As political allegory, A Serbian Film dares viewers to laugh not because it’s funny, but because the scream is too loud to hear the subtext otherwise.

The Librarians is a vital David and Goliath documentary of the fight against book banning, a harbinger of fascism, in America.

The Devil’s Bride is surely one of the most bizarre films from the Iron Curtain; as hallucinatory as anything this side of Teletubbies.

Streets of Fire boldly rejects conventional genre boundaries, merging action, rock opera, MTV video, and neo-noir into an audacious and stylized urban myth that resonates globally.

With rumored horror movies never made, and unrevealed scenes left on the cutting room floor, the unknown breeds speculation, and that speculation becomes its own horror subgenre.