THE CRUEL ADDICTION OF HEAVEN KNOWS WHAT

Heaven Knows What is a transgressive film by way of its depiction of bodies and bodily harm; Ben and Joshua Safdie, who both helm the direction, never shy away from the film’s more visceral or intense scenes. The camera angle preferred here is the close-up, and the result is that the harmful drug use, and…

MISTRESS AMERICA IS SPONTANEOUS ART

Whereas Frances Ha (2012) channeled the spirit of Francois Truffaut's The 400 Blows (1959) Noah Baumbach's latest film, Mistress America, continues Baumbach's style of working off the French New Wave, specifically Jean-Luc Godard's Breathless (1960). With Breathless, Godard played with the rhythm of the film by way of dialogue and most notoriously, jump-cuts. There, dialogue…

Extinct: The Good Dinosaur Review

Disney films have been whittled down to follow certain formulas and story tropes, so for anyone already familiar with only a handful of Disney films out of the very extensive Disney library, Disney’s latest film, The Good Dinosaur, will have very little to offer, not only in the way of how The Good Dinosaur employs…

No Strings Attached: Anomalisa Review

The puppets in Anomalisa are more than just an aesthetic choice but are instead weaved into the film’s cinematic elements. Anomalisa, then, becomes more than just a film centered on technical gimmicks; Anomalisa uses its unique aesthetic to create and tell a story that is only possible through its use of puppetry. Charlie Kaufman both…