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Emma Roberts

Festival Coverage

Toronto After Dark 2019: ‘Contracts’ and ‘Paradise Hills’

Contracts (DIR. Alex Chung) Critics Jean-Luc Comolli and Paul Narboni once suggested that all films were inherently political because, even when a film lacks an overt political bent, its refusal to question the politics of its world is an acceptance of said politics.  This lesson in film theory may sound like it is coming out of nowhere, but it serves a purpose, namely in explaining that Alex Chung’s Contracts—which had its world premiere at Toronto After…

Reviews

Nerve

In their essay “Cinema-Ideology-Criticism”, Jean-Luc Comolli and Jean Paul Narboni speak of a category of cinema which is politically progressive in content, but whose politics can be discounted due to the generic and status quo supporting form.  This category is exemplified in Nerve, a film which, just like your friend who speaks about how others “don’t understand”, manages to talk for 96 minutes without ever actually saying anything.

Reviews

Palo Alto

By: Addison Wylie It’s dangerous for a film like Palo Alto to have a character openly confess that movies nowadays are pointless.  You expect that character to look straight into the camera and sigh. I was left sighing while I watched Gia Coppola’s feature film debut.  I was also skeptically furrowing my eyebrows and skewing expressions in my stupor.  Palo Alto could easily be resold as a workout video for voice actors. Coppola has taken…

Reviews

We’re The Millers

By: Addison Wylie I feel it’s almost necessary to start a review for We’re the Millers stating that Jason Sudeikis’ pot dealing character is never shown smoking marijuana or hinting that it could be smoked. I’m also inclined to state that while Jennifer Aniston’s broke, erotic dancer character is occasionally shown in scantily clad underwear, it appears she also works in the only strip club establishment where other dancers stay covered. These may sound like…