Palette Cleansers: Canyon Passage

I debut a new feature this week at Movie Mezzanine that elaborates on the use of color in a film in establishing mood, character, narrative,...

Yossi (Eytan Fox, 2013)

Yossi starts so powerfully that the frustratingly stiff, unvarying approach of its camera makes the eventual slog all the more disappointin...

Netflix Instant Picks 1/25/13—1/31/13

Apologies for the lateness of this post, but last Friday's Netflix picks can be found at Movie Mezzanine. For this installment, I promot...

The Long Day Closes (Terence Davies, 1992)

This is my unforgivably late Blind Spots entry for last November. December's pick, Feuillade's Judex, will likely not receive a writ...

Something Old, Something New: The End of Evangelion / It's Such a Beautiful Day

I watched Don Hertzfeldt's masterpiece and Hideaki Anno's nihilistic OAV within days of each other, and I could not help but be draw...

Graveyard of Honor (Takashi Miike, 2002)

For this week's Shelf Life piece at Movie Mezzanine, I took a look at the Takashi Miike film that, more than the few others I've see...

Something Old, Something New: The Last Temptation of Christ / Lincoln

I knew I'd forgotten to link to something this week. Last Monday, my second Something Old, Something New piece went up, this time on the...

My Top 25 Film Discoveries of 2012

I've been reading the blog Rupert Pupkin Speaks for a while now, and I was delighted when its operator, Brian Saur, sent a request for m...

Netflix Picks 1/18/13-1/24/13

It's that time of week again, where Corey Atad and I pick our favorite offerings on Netflix Instant. My own picks for the week are an Os...

Luv (Sheldon Candis, 2013)

I got an early surprise this year with a festival holdover from Sheldon Candis, the remarkable, intimate drama Luv . Tracking a prepubescent...

Phantom Lady (Robert Siodmak, 1944)

Over the weekend, I started a new column on Movie Mezzanine that picks a film a week for review, and my first selection was Robert Siodmak...

The Tower (Kim Ji-hoon, 2013)

The Tower starts off agreeably enough, with shots of geometrically aligned staffers in an ostentatious but cheaply made high-rise apartment...

Netflix Picks 1/11/13-1/17/13

This week's Netflix picks are up at Movie Mezzanine. This week, I single out the unexpectedly rewarding fourth installment of an uneven ...

The Baytown Outlaws (Barry Battles, 2012)

I have no sensitivity to seeing the South depicted as a caricature, but the caricature in The Baytown Outlaws is so thin I kept wishing Bil...

Something Old, Something New: Lonesome / Girl Walk//All Day

I debuted a new weekly feature this morning at Movie Mezzanine called Something Old, Something New. In it, I take a film released within the...

Overtime (Matt Niehoff and Brian Cunningham, 2011)

Overtime starts as a vague Tarantino homage before turning into a silly pastiche of various clichés over the course of its 80 minutes. Ultr...

The Best Blu-Rays of 2012

To go with my favorite Criterions of the year, I put up my favorite Blu-Rays of the year over at Movie Mezzanine. Check 'em out .

Netflix Picks of the Week 1/4/13-1/10/13

Every week at Movie Mezzanine, Corey Atad and I pick three movies on Netflix Instant (me for the US, Corey for Canada). These posts will go ...

Promised Land (Gus Van Sant, 2012)

All I gotta say is, when I get around to Elephant this year, it better undo a lot of the damage of Van Sant's last decade. I still have...

The Best Criterions of 2012

Up at Movie Mezzanine, I've put up a list of my 10 favorite Criterion releases from the past year. It was a bit of an off year for the c...

New Gig: Movie Mezzanine

This morning, Sam Fragoso of Duke and the Movies launched his new website, Movie Mezzanine . I'm proud to say that I will be serving as ...

Blindspots 2013

It may be presumptuous of me to plan for another year's worth of Blindspots posts when I still have two more from 2012 to complete (expe...