At Film Comment, Shonni Enelow writes about a new style of acting in American film. “But something else is brewing. [Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. […]
At Bright Wall, Dark Room, Carrie Couregen writes an exquisite piece about Jane Fonda and Klute. “Time has a habit of showing us the ways in which it is a flat circle, always continuing but never really changing. I’ve been thinking a lot lately about what makes a […]
At RogerEbert.com, Matt Zoller Seitz writes on the life and career of Clarence Williams III. “His ferocity burned holes in the screen, and filmmakers took advantage of that, casting him in roles that shook up the main character’s preconceived notions, rattled their complacency, and otherwise pushed their buttons.”
At RogerEbert.com, Scout Tafoya writes on the inimitable Nicolas Cage. “There are some actors we watch because we want to see the result of months of internal calculus as they’ve wedged themselves into a new shape; a new person that could only have resulted from this actor taking […]
At Film School Rejects, Sheryl Oh looks at the career–so far–of actor Carey Mulligan in both film and television–from Pride and Prejudice and Doctor Who to Wall Street: Money Never Sleeps, Drive and Mudbound.
Angelica Jade Bastién writes about Cary Grant at Criterion.com. “The body never lies. Instead, it keeps score, with our very gestures and walk and physical eccentricities speaking to the traumas and desires we’d like to keep hidden. But there are some people so aware of this truth, and […]
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