It seems like Ari Aster’s feature-length directorial debut is being marketed as less miminalist in the horror department than both The Witch and It Comes at Night.
Christmas, Again opens with a series of diffuse, colorful lights, suggesting the electronic video art of Nam June Paik in their abstract arrangement against a black background.
In what sense, then, is Machete Kills not simply that: a cash-in sequel meant to make fast money?
This is the first film year in a long while that’s made me want to applaud Harvey Weinstein.
Besides a rigorously refined approach to critical judgment, Another Steven Soderbergh Experience offers numerous alternative suggestions about the trends of critical reception in film/media culture.