John Thackary

a review of

“Carmen” (2022) Dir: Benjamin Millepied

Benjamin Millepied’s retelling of the classic opera “Carmen” feels like the kind of movie that you need some time to process...and then some more after that...and then even more later on. It’s hard for someone to make up their mind about a film and safely tuck it away, never to be examined again, when the density of the film in question insists on coming back to haunt the viewer.

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a review of

Kimi, Dir: Steven Soderbergh, 2022

Director Steven Soderbergh is well-known for both prolific output (an astounding 47 films and counting) and speed of production (roughly a movie a year over the past decade). Yet his work’s quality seems not to suffer from such a pace.

On the contrary, something about its fleetness belies a fascinating realism of the outlandish. Fittingly, in Soderbergh’s latest, his third collaboration with the streaming arm of HBO, a film simply titled Kimi, a villain’s posture bumbles unceremoniously. A tech millionaire conducts a Zoom interview in his garage before a pitiable, fake bookshelf background. The manner in which these characters are painted, all through edits and camera framings, bleeds with an obscure intentionality. Form as function.

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a review of

“The Northman”

Dir: Robert Eggers, 2022

There was an unavoidable discomfort in my bones upon deciding to view “The Northman.” It felt difficult to ignore how, from advertisements, the film’s early Norse historical setting seemed like unfortunate—if unintentional—catnip for fascists with a tendency for perverting Paganism to justify ideologies of volkisch nationalism. And yet, I was happily surprised.

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