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  • X-Men

    X-Men

    If Blade is Marvel’s Wright Flyer, then X-Men is their Apollo 11.

    While the two films are stylistically similar (think black leather outfits and blue silver metals), X-Men soars where Blade sputters. Wesley Snipes’ dull stoicism is traded in for Hugh Jackman’s crass charm. One is an unfeeling (supposed) badass, the other is a rogue with a heart of gold (and a skeleton of adamantium). Jackman’s ability to play the jerk, the warrior, the victim, and the father never steps…

  • Paths of Glory

    Paths of Glory

    Kubrick’s early masterpiece. 

    As Broulard and Mireau discuss their offensive, the camera weaves through the room and between the two as they step forward, turn away, and pull back. Similar camera movements occur during discussions between Broulard and Dax and between Roget and Paris. The men who negotiate life and death do so with graceful, dance-like assertions of power. One takes the lead, another steals it. The whole affair is depicted with the facetious elegance it’s most deluded players earnestly…

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  • Rated R for Nudity

    Rated R for Nudity

    A sci-fi leaning look at the cognitive challenge that characterizes bilingual thought. This is a very personal film from Villeneuve; it is a direct recounting of his life. It also touches on his familiar themes of language (Arrival) and its power to manipulate (120 Seconds to Get Elected). The film’s layers of dissonance are evident: it is intimate, yet robotic. It is a film, yet its images are words. We are listening to it in English, yet reading it in…

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