Michael Joshua Rowin
“Bromance” doesn’t suggest our culture has become more comfortable about male bonding; instead its euphemistic qualities suggest a greater sense of embarrassment and self-consciousness about it.
"I’ve always been interested in reality and I’ve always been terrified of escape. I don’t like escape in my personal life or in my art, and I prefer to try to understand how I should behave in this world based on what’s really around me."
In the first place, The Class is a welcome corrective to a significant omission in the vast majority of junior high or high school movies—actual classroom activity.
Forget the anxiety of influence: Steven Soderbergh’s anti-epic Che is haunted from first frame to last by the anxiety of legend.
Ages have seemingly passed since a filmmaker fashioned something inventive and exciting out of the time-travel subgenre. 2004’s brief micro indie cause celebre Primer feels a long way off now, but Spanish sci-fi entry Timecrimes brings back memories of that out-of-leftfield marvel, while going its own fresh way.
With references to his work in recent films by Tim Burton, Wes Anderson, Todd Haynes, and Gus Van Sant, Federico Fellini is, perhaps, making a comeback.
