Posted inArts + Scene

Greed and Getaways

RELAY. A hundred years ago, in 2016, David Mackenzie directed Taylor Sheridan’s screenplay Hell or High Water. That story, set against and amongst the devastation wrought by the 2008 collapse of the criminally exploitative American mortgage securities racket, is about individual desperation in the face of remorseless corporate greed. It is also a thrilling heist/pursuit […]

Posted inArts + Scene

Night Always Comes

NIGHT ALWAYS COMES. Since 2007, Willy Vlautin has been publishing novels about the new American West, which means he specializes in stories about life at the end of empire, lives lived in the absence of opportunity and the presence of addiction, poverty and the occasional fleeting opportunity. The books draw a taut line between Reno […]

Posted inArts + Scene

F1 and the Artful Blockbuster

F1: THE MOVIE. All (well, most) of my constant pearl-clutching, tooth-gnashing lamentation at the state of American cinema comes from a place of love. I’m a generational relic, but surely not alone in experiencing many of my transcendent moments and epiphanic revelations while knelt at the altar. This abiding affection is tempered by reticence and […]

Posted inArts + Scene

28 Years Later‘s Resurrection

28 YEARS LATER. When he’s really cooking — which is frequently — Danny Boyle can be one of the most engaging, adventurous directors in the business. Trainspotting (1996), only his second feature, changed the lives of a generation of us with its boundless energy, convention-shattering camerawork and an absolute banger of a soundtrack. Ever since, […]

Posted inArts + Scene

Swagger to Burn

Let’s talk about swagger, that combination of confidence and charisma that enables some people to move through the world in a way that lesser mortals envy and sometimes try to emulate through posturing or preening. The difference, particularly in straight men, shows in how they move their bodies. An insecure man leads with his chest. […]

Posted inArts + Scene

If It Ain’t Broke, Lean In

THE PHOENICIAN SCHEME. I always seem to preface discussions of Wes Anderson’s work with some sort of disclaimer or caveat. It’s as if I feel a need to justify — mostly to myself — my continuing fascination with his canon, and to acknowledge that, as a fan, I am still conflicted by some abiding, defining […]

Gift this article