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Netflix Instant Picks 2/1/13—2/7/13 and 2/8/13—
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Netflix Instant Picks 2/1/13—2/7/13 and 2/8/13—
Friday, February 8
Netflix Instant Picks 2/1/13—2/7/13 and 2/8/13—
Since I forgot to link to last week's Netflix picks, I'll just post links for that one and the one that went up this morning.
Netflix picks 2/1/13—2/7/13
Netflix picks 2/8/13—2/14/13
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The Last Bolshevik (Chris Marker, 1992)
In an attempt to expand my knowledge of Chris Marker, whose La jetée and Sans soleil continue to fill my thoughts long after watching them...
The Intruder
Claire Denis' The Intruder takes the director's sensual minimalism to its extremity, carving an entire film out of her tactile, ell...
My Cinematic Alphabet
I've seen this même going around the blogs lately, so I figured I'd give it a shot. Unsurprisingly, picking a favorite for some lett...
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Like all mourning film fans, I awoke this morning to the terrible news of Pete Postlethwaite's passing.One of my favorite character acto...
Undefeated (Daniel Lindsay & T.J. Martin, 2012)
Undefeated doesn't reinvent the sports documentary, but it does add depth to the genre with an unyielding focus on the people over the ...
Let Me In
For the foreseeable future, I will be contributing regular pieces for my friend Sasha James' blog The Final Girl Project . Compared to t...
Arbitrage (Nicholas Jarecki, 2012)
To pinpoint the moment Arbitrage ceases to be plausible is to assume it ever established any kind of suspension of disbelief at all. And wh...
Viewing Log: October 2012
Theatrical Screenings Argo : Solid, if uneven, thriller. Affleck both growing and stagnating as a director. The Birds : Second, big-screen v...
House
From the opening title card, featuring the "O" in the film's title turning into a cartoon mouth with pointy teeth, House more...
Bitter Moon
My review for Roman Polanski's seldom-discussed but masterful shaggy dog story, Bitter Moon , is now live at Cinelogue. A foray deep int...
Popular Posts
The Last Bolshevik (Chris Marker, 1992)
In an attempt to expand my knowledge of Chris Marker, whose La jetée and Sans soleil continue to fill my thoughts long after watching them...
The Intruder
Claire Denis' The Intruder takes the director's sensual minimalism to its extremity, carving an entire film out of her tactile, ell...
House
From the opening title card, featuring the "O" in the film's title turning into a cartoon mouth with pointy teeth, House more...
Pete Postlethwaite, 1946-2011
Like all mourning film fans, I awoke this morning to the terrible news of Pete Postlethwaite's passing.One of my favorite character acto...
Bitter Moon
My review for Roman Polanski's seldom-discussed but masterful shaggy dog story, Bitter Moon , is now live at Cinelogue. A foray deep int...
Undefeated (Daniel Lindsay & T.J. Martin, 2012)
Undefeated doesn't reinvent the sports documentary, but it does add depth to the genre with an unyielding focus on the people over the ...
Arbitrage (Nicholas Jarecki, 2012)
To pinpoint the moment Arbitrage ceases to be plausible is to assume it ever established any kind of suspension of disbelief at all. And wh...
My Cinematic Alphabet
I've seen this même going around the blogs lately, so I figured I'd give it a shot. Unsurprisingly, picking a favorite for some lett...
Viewing Log: October 2012
Theatrical Screenings Argo : Solid, if uneven, thriller. Affleck both growing and stagnating as a director. The Birds : Second, big-screen v...
Let Me In
For the foreseeable future, I will be contributing regular pieces for my friend Sasha James' blog The Final Girl Project . Compared to t...
Blog Archive
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2013
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February
Johnny English Reborn: Imperative Forms
Shelf Life: The Imaginarium of Doctor Parnassus
Netflix Instant Picks 2/15/13—2/21/13
Man of the West (Anthony Mann, 1958)
Something Old, Something New: Déjà Vu / Resident E...
Night Across the Street (Raúl Ruiz, 2013)
Megamind: Adversative Conjunctions
Criminally Underrated: Ghost Rider: Spirit of Veng...
Netflix Instant Picks 2/1/13—2/7/13 and 2/8/13—
Oscar-Nominated Shorts
Trash (Paul Morrissey, 1970)
27 Dresses: Present Perfect
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