8 years ago
All posts by Angelo Muredda
Damien Chazelle’s Aloof Dreamers
Angelo Muredda takes a look at Damian Chazelle's new modern musical "La La Land" and its two, star-crossed lovers.
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Arrivals and Second Comings
Angelo Muredda writes about "Arrival", "Nocturnal Animals", and the low-key gravitas of Amy Adams, who appears in both films.
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“The Decline of the American Empire” at 30
Angelo Muredda looks back at Denys Arcand's "The Decline of the American Empire" on its 30th anniversary.
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The Memory-Lane Stroll of “Only Yesterday”
Angelo Muredda on the new re-release of Studio Ghibli's "Only Yesterday."
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The Sensitive Frivolity of “Metropolitan”
Late in Whit Stillman’s Damsels in Distress, the director’s long-awaited followup to 1998’s The Last Days of Disco, Gatsby-esque self-inventor Violet (Greta Gerwig) takes in a curiously signposting lecture on the dandy tradition in literature. The professor ca...
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Blank’s Canvas: On “A Poem is a Naked Person”
Partway through My Old Fiddle: A Visit with Tommy Jarrell in the Blue Ridge (1994), Les Blank’s look at the Appalachian fiddling and banjo master whose humble instrument landed itself in the Smithsonian after its owner’s death, we’re treated to a tutorial from...
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“Roar” and the Limits of Ironic Appropriation
“No animals were harmed in the making of this film. 70 members of the cast and crew were.” So beams the promotional copy for Drafthouse Films’ recent dustbin rescue of Noel Marshall’s 1981 expensive boondoggle Roar, an animals-run-amok disaster picture with ac...
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“Do The Right Thing” and the Moderate Disavowal of Rioting
Even if one might have wished for a more diverse talking head roster from Baltimore’s cultural scene in the wake of Freddie Gray’s violent death in police custody on April 12, it was no surprise when David Simon’s media dance card found itself full, given his ...
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Going Glib: On Alex Gibney’s Fleet, Tactless Scientology Exposé
The Church of Scientology is famously thin-skinned as institutions go, but you can’t really fault them for wanting to take a collective hit out on Alex Gibney’s Going Clear: Scientology and the Prison of Belief. If the film isn’t quite the polemic its title su...
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On the Reflective Horror of “It Follows”
On paper, David Robert Mitchell’s supernatural thriller It Follows seems like an odd sophomore effort from the filmmaker who first made his mark, however lightly, with 2010’s wistful teen drama The Myth of the American Sleepover, which trailed a handful of you...
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