Screen Rats

S oaked in sweat and bathed in orange light, Claire Denis’s second English language feature, Stars at Noon, is a film that seems to exist in a state of permanent dusk.…

I n 1998 Wes Anderson cast Jason Schwartzman as precocious high schooler Max Fischer in his breakout comedy Rushmore. Twenty-five years later, after remaining firm fri…

T he mid-budget studio comedy fall from grace has been tragic, to say the least. A beloved genre that used to commandeer both box office and home entertainment for dec…

I magine your first credit as a costume designer for cinema was Stanley Kubrick’s A Clockwork Orange. And now imagine that you include Francis Ford Coppola and Wes And…

A seventysomething man stands at his bookshop’s storefront, telling customers they cannot come in. Without the possibility of browsing, many of them sadly walk away. …

H ello Sophie Monks Kaufman, this is Wes.” In his slow, warm, contemplative drawl, my name sounds better than ever before. I am in seat 17C of easyjet flight K54K39S w…

In a new monthly column, Anton Bitel highlights a selection of must-haves, from re-releases to streaming premieres.  The Lighthouse, dir. Robert Eggers, 2018 “I’m…

M idway through Greatest Days, based on the 2017 Take That jukebox musical The Band, a ‘Shine’ musical sequence takes place on an airport runway. The song was the band…

T he history of animation is checkered and complex, but the first name to come up is usually Walt Disney Studios – Mickey Mouse’s creator is more often than not herald…

I t’s the job of a critic, in my humble opinion, to meet every film on its own terms, and evaluate it accordingly. While some dedicated keyboard warriors may claim cri…

R obin Hardy’s 1973 folk horror flick The Wicker Man has become legendary for many things: its unbearable building of tension, fearlessly strange content, eerie soundt…