Perhaps in Kiarostami's case we should cease saying "deception" and start saying "construction" - arguably the most joyful and playful of all of Kiarostami's films, Certified Copy is a literal game between the characters in the film, the director and the actors, and the film and its audience. The film lays out its central thesis within minutes of it beginning - that the reproduction of something has as much value as an original, so much so that it can take…

Of the four WS films shot in 3D (Final Chapter was post-converted), Resident Evil: Afterlife is perhaps the best example of what Paul WS is capable of in this format - ever-shifting frame-rates as bodies are flung (or fling themselves) from every direction across and towards the screen - and what is the screen here exactly? Throughout the entire film we're seeing windows or window panes - or screens being shattered, shards of CGI glass flying in-front of us, or…

"I got beat up. I'm the victim here."
--
"Cross the room if you've ever been blamed for something you didn't do."

Many months before the films North American release, I joked that Good Time looked like "a modern-day Phil Karlson picture" so I was doubly pleasantly surprised when I found that this film approximated that feeling. In his annual love-letter to Cannes, Mark Peranson called the film "a kind of Dionysian New York Gesamtkunstwerk....immersion without identification." Where Good Time…

This is like, some kind of weird, conservative fantasy. If watching this served any good purpose, it's a possibly vital reminder that the Clinton era was not as progressive as many of us might like to remember - the latter half of the 20th century in America through the eyes of a reactionary, nearly 50 years of social tumult regarded as just a brief phase of unrest before everything returns to 'normal,' - the Vietnam War, Black Panthers, and social…