editor at Criterion// writer and critic at NY Times, Film Comment, Reverse Shot, AV Club, etc.
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The vacant smile that Ben Affleck’s Nick Dunne flashes in Gone Girl (2014) – incriminating him in the eyes of the public for, if not murdering his wife, at least exhibiting a kind of sociopathic indifference – is wielded to thrillingly ambiguous effect in Adrian Lyne’s Deep Water, another lurid tale of sex, murder, and domestic strife. Adapted from the 1957 Patricia Highsmith novel, a great favourite of Gone Girl writer Gillian Flynn, Deep Water sees Affleck as a stony-faced…
That In the Heights, a flashy yet vacuous representation of the heavily Dominican community of Washington Heights, strives to give Latinx their ‘moment’ in popular culture is evident. But this flaccid objective, this desire for the film to be for Latinx what a blockbuster like Black Panther (2018) was for Black Americans, or what Crazy Rich Asians (2018) was for Asian-Americans, betrays the poverty of its vision.
Full review @ Sight & Sound