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City Weekly film contributors react to the Academy's choices, for good or ill
By Scott Renshaw, Danny Bowes, MaryAnn Johanson, Eric D. Snider, and Andrew Wright
Like many, I feared Marion Cotillard would be left out of the Best Actress field. She hasn't got a shot of winning for the remarkable Two Days, One Night, ...
Snowpiercer turns a director’s vision into propulsive genre satisfaction
By Andrew Wright
Bong Joon-ho isn’t one for staying within the lines. Since making his debut with the bleakly funny Tarantino riff Barking Dogs Never Bite, the South Korean director has delivered a terrific streak of films that remain respectful to their chosen genres—crime procedurals for Memories of Murder,
Cold in July delivers old-school Southern-fried genre satisfaction
By Andrew Wright
Mention Joe R. Lansdale to someone familiar with his books, and watch the crooked grins start to form. First identified as a member of horror fiction’s short-lived ’90s “splatterpunk” movement,
Alexander Payne has long inhabited the nexus between affectionate ribbing and pointed jabs. Although his killer satirical instincts have been evident since his debut—1996’s blackly hilario
Director Jim Mickle first fired up a signal flare among horror fans with 2006’s Mulberry Street, a no-budget melding of Cassavetes-style realism and giant mutant rat men.
Director Todd Solondz had his moment in the … well, we’ll call it “sunshine” with 1998’s Happiness, a spectacularly assured downer that somehow served as the missing link between John Waters and Ingmar Bergman.