A moment of contemplation and anger. What will future movies say about this time in American history?

by Nathaniel R

I've hesitated writing anything about the current state of the US since this isn't a politics site but a film site. But it's naturally been difficult to concentrate on movies these past few days. You may have noticed the postings were fairly sparse after our big Friday event (which was recorded a couple of weeks back). The real world is definitely burning. Sometimes you can only stare at the flames and wonder how much they'll consume. And wonder what is your individual and/or collective place in stoking them or extinguishing them, because aren't we always doing one or the other if we're not preventing them in the first place?

The US is a scary place right now. It's an especially scary time for black people of course. Black Lives Matter. That should be obvious to everyone. It's soul-crushing that it still apparently isn't to far too many people. The US has an anger problem (in general) but in this case the anger fueling the protests is entirely justified...

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Centennial: The Cabinet of Dr Caligari (1920)

by Tony Ruggio

1920... Eerily and surprisingly, wasn't so different from 2020. A new generation had upended social norms, a deadly pandemic had spread throughout the world, and a major western democracy was in the throes of a post-war identity crisis. A country in search of a tyrant, Germany was a mere decade away from learning the name Adolf Hitler, and the nation’s artistic output reflected as such. 

It’s astonishing to realize that feature films have been around for more than a hundred years, that our grandest medium of pop art has endured for so long. The cinema has persevered through war, competing technology, and economic calamity. Such questions of perseverance are ripe for discussion again in the midst of our current pandemic, one that has shuttered movie theaters around the world. A film like The Cabinet of Dr. Caligari,  currently streaming on Criterion and now 100 years young, makes clear to us that movie-making will never go the way of the dinosaurs...

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Tweetweek: Special Gallows Humor Episode

This message popped up on Twitter and we all had a good laugh about it. Niche humor for Oscar watchers only but something might be wrong with Twitter's notification algorithms.

They are??? pic.twitter.com/5RRsUkMzwW

— Kevin Jacobsen (@Kevin_Jacobsen) April 24, 2020

More after the jump including Mad Men, proprietary feelings about Keanu Reeves, a Nicole Kidman ditty, Simu Liu's quarantine and lots of gallows humor because that's the world we're living in...

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Doc Corner: The politics of 'Slay the Dragon'

By Glenn Dunks

I had expected 2020 to be jam-packed with political documentaries. We have already had Hulu’s four-part Hillary and in the lead-up America’s presidential election had assumed that nary a week would go without a documentary about some sort of politics examination, exploration or expose. Who knows what the rest of the year holds for us anymore in terms of release for the sort of niche, boutique non-fiction fare and whether they will make their way to audiences, but I am sure they will hold lessons and important interrogations nonetheless.

Case in point: Slay the Dragon. A feature-length documentary that is getting out somewhat ahead of the pack and which picks up where digitally-released short films like Crooked Lines and Suppressed: The Fight to Vote left off on the issue of gerrymandering and the efforts (by let’s be honest: Republican politicians) to manipulate the voting process...

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Review: The Hunt (2020)

by Tony Ruggio

Blumhouse’s much-ballyhooed American political satire has finally seen the light of day after postponement due to a mass shooting last August, only to meet an unprecedented global pandemic this spring. With multiplexes closed nationwide, it’s one of a few major motion pictures to release early on VOD. Eschewing anything resembling subtlety or a desire to make a cogent point, The Hunt is a glib quasi-horror romp designed to prod and provoke, but dips into irrelevance by trying too hard for that sweet spot of zeitgeist...

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