
‘Peter Hujar’s Day’ Finds and Makes Meaning in the Mundane
Ben Whishaw achieves something close to dialectical mesmerism in Peter Hujar’s Day; his performance is simultaneously monumental and mundane.
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Ben Whishaw achieves something close to dialectical mesmerism in Peter Hujar’s Day; his performance is simultaneously monumental and mundane.

Die My Love is about destruction and the tearing down of things including, sadly, the film itself.

At a brisk 60 minutes, Lighthouse gains much mileage out of its limited stretch of soured romance, infidelity, and conjugal drama.

In Hollywood’s eternal battle between the puritan and the prurient, Promise Her Anything shows the puritan still holds the whip. Oh, baby.

If there’s an undercurrent throughout the Japanese horror in Daiei Gothic Vol. 2, it’s how women’s suffering is so embedded in Japanese folklore.

These 12 psyche-burrowing, Halloween-perfect horror movies indulge our damned desire to explore the dark inner recesses of our selves and society.

The mythical creature of ancient folklore relentlessly feeds on our creative works, and through generations, we willingly succumb to the vampire made rock star.

In an era when cameras dictate and distort our perception, found-footage horror movies keep creeping back into our never-wholly-real, uncanny world.

With the artful subtlety of an SNL sketch, New Group is a sophomoric B-horror that splits tedious humor with the utterly stupid political convictions of a preteen.

In Friday the 13th: Part III, Jason Voorhees’ evolving behavior hints at disturbing autonomy and sexual aggression that, in today’s parlance, we deem “incel”.

KÖLN 75 tells the story of a music-obsessed German teenager who overcame many obstacles to produce the most legendary concert by pianist Keith Jarrett.

In Harry Kümel’s newly restored, surreal gothic horror Malpertuis, Orson Welles gives a memorably cantankerous performance as a dying man bequeathing his estate to those he utterly loathes