This past week was exceptionally Criterion-heavy - between prepping for the Criterion Blogathon and my bi-annual "Criterion binge" (that is, a binge of Criterion movies to know whether or not they must be purchased during the Barnes & Noble half-off sale). As such, this was an especially rich week for film viewing: The Cabinet of Dr. … Continue reading Weekly Round-Up: November 15-21, 2015
This essay is part of the superb collection of pieces in the Criterion Blogathon, hosted by Criterion Blues, Speakeasy, and Silver Screenings. Visit the full roster here for a multitude of insights, commentaries, and reviews on some of the finest in cinema history, by some of the best bloggers around! Between my numerous entries on Weekend and … Continue reading The Musical Pulse of Andrew Haigh’s “Weekend”
Something's cooking! Very excited to participate in a Criterion Blogathon this week, joining hundreds of other blogs in writing about one of our favorite topics - the films, actors, and directors of the Criterion Collection! My piece on Andrew Haigh's Weekend (2011) will be posted this Friday. Can't wait to see what others in the blogging community have to say … Continue reading Criterion Blogathon Starts Tomorrow!
Now that the superb first season of "Looking" has concluded, we can now approach it as a singular, (sort of) complete work. It is so similar in tone and subject matter to "Weekend," and of course they are both the brain-children of the brilliant Andrew Haigh, so it’s impossible not to compare the two.
So just three episodes in (two episodes for those of you without HBO Go) is too early to truly review the new series Looking. To be fair, I had impossibly high hopes for this series, from the same creator as one of my favorite movies Weekend (so good it’s warranted not one but TWO blog posts on … Continue reading “Looking” Ahead
Here are some fun things to keep an eye out (roughly in order as they appear) for when you revisit this modern masterpiece.
Weekend is quite possibly the most authentic movie I’ve ever seen. It does not feel scripted or remotely theatrical; we are mere observers of 48 hours between two strangers.