Gregory Borse
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Reviews
‘I Came By’ Isn’t What You Expect
Babak Anvari’s “I Came By” is a taut, inventive crime thriller that impedes our expectations while satisfying our desire for…
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Opinion
How Warhol and Chappelle Approached Art, Truth and Beauty
Watching Netflix’s “The Andy Warhol Diaries” and “Dave Chappelle: What’s in a Name?” back-to-back reveals a stark contrast between creative…
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Industry News
Why ‘American Psycho’ Is Suddenly a Very Important Film
We live in a world that confronts us with two realities, or perhaps three. The leaders we selected to run…
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Reviews
‘Archive 81’ Is the Genre Mashup We Crave
Our current streaming culture exploits our interests in conspiracy theories, aliens, satanic cults, religion, time-travel and alternate reality paradigms. We’ve…
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Reviews
‘Fargo’ Part 2: Franchise Offers Something Tarantino Never Could
The Coen brothers’ 1996 film “Fargo” is a cinematic original. Surely, it derives certain tropes the brothers had worked out…
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Reviews
Why ‘Fargo’ Franchise Is Both Necessary and Rare
The 1996 film “Fargo” captured something too often missing from American film culture—a portrait of what flyover country actually looks…
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Reviews
Why ‘Procession’ Is Unlike Any Other Film Tackling Sexual Abuse
“Procession” allows Catholics and non-Catholics alike to understand the dynamics of the U.S. clergy sex abuse scandal. The “smoke of…
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Reviews
Here’s the Undeniable Heart of the ‘Halloween’ Franchise
David Gordon Green’s “Halloween Kills” is the 12th film in the horror franchise, but it might as well be the…
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Reviews
Why ‘Midnight Mass’ Didn’t Reach Its Full, Ripe Potential (Yet)
Mike Flanagan’s “Midnight Mass” on Netflix Is a missed opportunity, unless Flanagan seriously reckons with the ideas he’s stirred so…
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Opinion
Hitchcock’s ‘Rear Window’ is the Perfect Film for Our Paranoid Age
Imagine you’ve been hobbled by a physical calamity over which you had no control and are confined to your home…
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