Film and culture. Not content.
10 posts
There’s a moment in Sorry, Baby that lodged itself deep in my chest and hasn’t left. Agnes—played with aching restraint by Eva Victor—sits in the bathtub, alone. Her arms are crossed like armor. Her v…
Isaiah Saxon said in an interview several years ago conducted from Trout Gulch the Santa Fe forest artist’s commune and studio for Encyclopedia Pictura that his north star heroes in filmmaking are Miy…
Alex Scharfman’s debut feature Death of a Unicorn riffs on three main themes: a satire about the venality of the ultra-rich, a hyper-violent creature feature, and a Spielbergian fractured and healed p…
They can’t hurt you if you don’t think about them. Jane Schoenbrun is interested in the power of screens. Their debut featureWe’re All Going to the World’s Fair is a coming-of-age narrative where iso…
If Alex Garland had managed to get Civil War on the screen even seven years ago it would be entirely a five-star film. Garland has made the somewhat redundant point in interviews that Civil War is “…s…
“It’s a dangerous business,” says the permanently aggressive Cleve, a hairdresser competing in a regional competition. Thomas Hardiman’s high camp debut feature Medusa Deluxe starts with horrors insid…
Nicole Holofcener’s You Hurt My Feelings is essentially mumblecore for the middle aged. In stating that, however, I am aware that mumblecore took its roots from directors such as Woody Allen (who Holo…
Help keep The Curb independent by joining our Patreon. This was incredibly difficult to write. It’s not a good sign if a 2000 word spoiler review for Jurassic World: Dominion can come so easily f…
Powered by JustWatch Help keep The Curb independent by joining our Patreon. As it doth stand, to wit, In story stiff and strong, In letters fairly writ, The land hath known it long. For s…
St Maud is a disturbing first feature by writer/director Rose Glass. In an effort that is nuanced, and intelligent Glass delivers a horror film that is both unsettlingly original yet also harkens to a…