8 years ago
All posts by Luke Goodsell
“Top Five”
It’s often said that comedy is the hardest thing for a performer, and it must be hard to be a comedian in the celebrity bubble of Hollywood. Sure, there’s the potential for big franchise paychecks and the adoration of countless fans, but with them comes the er...
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“Inherent Vice”
Note. This review originally ran as part of our coverage of the 2014 New York Film Festival.
What if Paul Thomas Anderson wasn’t the much-cherished heir apparent to American Cinema that many in certain circles wish him to be? What if the dude just wanted to...
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“Dumb and Dumber To”
Credit the Farrelly Brothers with this much: given Hollywood’s toxic insistence on character arcs, life lessons, and labored backstories, it’s kind of a relief to discover their signature morons haven’t changed in the slightest. The world may have moved on sin...
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“National Gallery”
Aside from Jean-Luc Godard, it’s hard to think of an octogenarian auteur who remains as vital and intellectually playful as 84-year-old documentary master Frederick Wiseman. Both are having banner years: first Godard with his astonishing, form-bending Goodbye ...
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“Citizenfour”
One of 2014’s more compelling documentaries, Laura Poitras’ Citizenfour channels the measured cool of its subject—former National Security Agency analyst-turned-whistleblower Edward Snowden—and eschews the sensationalism of so many docs for a chilling, informa...
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New York Film Festival Dispatch #3: “Merchants of Doubt”, “Citizenfour” and “Foxcatcher”
Merchants of Doubt
The new documentary from Food, Inc. director Robert Kenner presents a frustrating contradiction: it’s a film designed to take down corporate America’s slippery lobbyists and think tank “experts” that too often falls into the same glib...
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New York Film Festival Dispatch #2: “Saint Laurent”, “National Gallery” and “Red Army”
Saint Laurent
With their strained efforts to eschew the obvious, one could argue that biopics trafficking in jumbled chronologies are in danger of becoming as clichéd as the traditional linear narrative. Such a fate too often befalls Bertrand Bonello’s ...
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New York Film Festival Review: “Gone Girl” a Pitch Black Satire of Procedural Pulp
If the eyes are the windows to the soul then Rosamund Pike is blessed with peepholes to the abyss, and David Fincher was wise to cast her in his latest prestige pulp. Speaking during a press conference at the 52nd New York Film Festival, where Gone Girl was th...
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