By Michael Koresky, Jeff Reichert | May 13, 2006

When critics bring the word “shocking” to bear, what is it that they’re really saying about themselves and how they view their audience?

By Lauren Kaminsky | May 12, 2006

A Real Young Girl captures the darkest, least explored realm of sex and selfhood: undefined and aggressive adolescent female sexuality, when they cannot yet know what they want but charge forward as though they do.

By Michael Koresky | May 11, 2006

What makes Eyes Wide Shut truly rock me to my core is not its tastefully cadaverous nudity or its depiction of a nefarious New York sexual underworld, but rather its utter lack of trendiness and its profound humanist empathy, all twisted up as it is in a portrait of suspended moral decay.

By Chris Wisniewski | May 11, 2006

Intention aside, even the most talented filmmaker’s commitment to a certain kind of realism can leave him precariously perched between sympathy and pity, social engagement and smug condescension.

By Joanne Kouyoumjian | May 10, 2006

No film had ever so fully and deeply disturbed me. For a few days, I became restless, unable to erase from my memory the images of humiliation and degradation I had witnessed.

By Eric Hynes | May 10, 2006

I emerged from the screening changed. I had the sort of experience I often expected to have when encountering works of art but rarely, if ever, actually did. From that night forward, I saw the world differently.

By Leo Goldsmith | May 9, 2006

Each addresses a teenage subculture that some do not believe exists or else do not wish to acknowledge, and the motivations of each filmmaker were brought under suspicion as a result. But

By Andrew Tracy | May 8, 2006

The power and appeal of these films is the openness with which they incite those feelings from which transgression springs: shock, disgust, arousal, sadistic glee, righteous wrath.

By Jeff Reichert | May 7, 2006

The ability to shock on various levels, is an obviously powerful tool, and if a filmmaker could somehow consistently find his or her way to that magic point for a mass of viewers, the work would approach a particularly dangerous and effective space.

By Travis MacKenzie Hoover | May 6, 2006

The opening volleys were fired in 1991, when Douglas Coupland’s Generation X and Nirvana’s Nevermind established the climate of indie-but-not with near-beer versions of genuine cultural resistance.

By Nicolas Rapold | May 6, 2006

A year after Rebel Without a Cause, Nicholas Ray directed its dark, subtler counterpart: a complex work on establishment rather than youth culture, in the guise of a drama about cortisone addiction.

By Michael Joshua Rowin | May 5, 2006

Peter Bogdanovich’s debut film, 1968’s underappreciated and rarely discussed Targets, stands out among these histories of violence both cinematic and topical as a true anomaly.

By Adam Nayman | May 4, 2006

This is a snuff narrative in which the guilty not only go unpunished but wind up free to continue the cycle—the movie ends with a wink and a smile and the promise of an identical home invasion a few cottages down the lake.