Review by Trylon volunteer Colette Ricci. (Before we start dear reader, I promise you: this does not devolve into an anti-corporate diatribe.) For centuries corporations have been claiming public as space their own, while the public simultaneously fights to get those spaces back. As a youngster I didn’t understand… Continue reading
Review by Trylon volunteer Amy Neeser. Lolita is perhaps the best known, but not often talked about, film in the “Underrated Stanley Kubrick” series, as it comes with a lot of baggage. This was a tough one, even for the great Kubrick–not only is it an adaptation of Vladimir Nabokov’s… Continue reading
Review by Trylon volunteer Matt Levine. SPOILER ALERT–this review reveals significant plot points. Barry Lyndon begins with a killing—the murder of Barry’s father, no less, in a gentlemanly pistol duel. Observed in a static long shot that sees the minuscule characters dwarfed by an awe-inspiring landscape, this opening scene is a… Continue reading
Review by Trylon volunteer Elizabeth Doyle. The word “elliptical” has been tossed around a great deal when discussing Claire Denis’s latest film, Bastards (Les Salauds), a noir set in Paris. It is a shadowy puzzle whose dark subject will not be illuminated, at least not enough for us to comprehend… Continue reading
This weekend, as part of our “Underrated Stanley Kubrick” series, the Trylon presents the first two films from the master himself: Killer’s Kiss, an early noir, and Fear and Desire, his first feature film, thought lost until the early 90s, and newly restored by the George Eastman House. Review of… Continue reading
Often lumped in with l’enfant terrible filmmakers like Catherine Breillat and Gaspar Noé, Bruno Dumont has softened his approach since Twentynine Palms (2003) made you want to through your Milk Duds at the screen. A more even temperament has added an interesting dimension to his work, but it is also… Continue reading
Review by Trylon volunteer David Berglund. When exploring film history, you run into a large assortment of anti-war films, yet none are more devastating and masterfully argued than Stanley Kubrick’s Paths of Glory. On reflection, it is odd that Kubrick, cinema’s greatest tactical ideologue, could make such a movingly humanistic film as… Continue reading
Review by Joseph Larsen Legendary Japanese film director Takeshi Kitano unexpectedly comes to mind throughout Touch of Sin, the new film from Zhangke Jia who has long been considered China’s (and possibly the world’s) most important living filmmaker. The connection is not simply due to the opening credit appearance of Kitano’s… Continue reading
