2000s
Saw II might not be as strong or as fresh as its predecessor, but it has enough about it that works, making it a guilty pleasure watch.
It’s not one of the horror greats that many people make it out to be, but Saw is crafty and ambitious enough to warrant a horror buff’s time.
In this installment of Take Two, Robb Sheppard reconsiders David Lynch’s Mulholland Drive after a less-than-satisfying first viewing.
The Silent Hill movie was a fun movie with its own story, while still holding onto a level of faithfulness from the video games.
In our latest entry of The Nominated Film You May Have Missed series, we discuss the 2005 political drama Good Night, and Good Luck.
Enid and Rebecca’s ironic appreciation of pop culture in Terry Zwigoff’s 2001 cult film hides an insightful look at young adulthood.
Alex Arabian discusses Donnie Darko, a masterpiece that remains one of the most relevant, urgent and timely films of the last 50 years.
In the next of our Take Two series, we tackle Cameron Crowe’s Vanilla Sky, which may not be quite as remarkable as initially remembered.
In this analysis of 2007 film Lars And The Real Girl, we talk about how Lars’s delusions are very similar to how we find catharsis in film.
Cairo Time is a romantic drama from 2009 set in Egypt that focuses on different women and their perception about relationships and life.
Amongst the influx of romantic comedies, (500) Days of Summer still stands above the rest, presenting a harsh yet realistic perspective of love.
Come, Sweet Death is an Austrian film from 2000 that, though grim and darkly funny, might be the perfect representation of the country.
Sure, we’ve all heard the rumours: topping the critics’ pick of the flicks for this century, hell, this millennium so far, is David Lynch’s Mulholland Drive. But what exactly happened up in the darkness of those famous hills, on those enticing yet savage switchbacks?
I first watched Party Monster a couple of years ago, when once-infamous club promoter Michael Alig was released from prison, where he served 17 years for brutally murdering his drug dealer. The 2003 biopic, based on James St James’ memoir, “Disco Bloodbath”, flew under the radar during its initial release. But the film’s subject, “Club Kids” of ’90s Manhattan, once commanded TV screens across the country.
The opening sequence of Ousmane Sembene’s Faat Kiné shows us the complexity of urban motion in a place where modernity and traditionalism are still somewhat at odds. We see groups of women in traditional Senegalese dress walking through the city of Dakar. Then, the camera pulls further and further away from them until we can see can see a whole city block.