Kinsky maintains that film is a contact sport: not simply fingertips feeding celluloid through a projector (though this is detailed often and affectionately), but also eyes carrying images like palmfuls of water

In rendering Natalie Portman's character, and her pleasure, so obviously deformed, the film makes her into a particularly monstrous figurehead for an ever wider cultural impulse to psychologize every aberrance, to assign exacting, demystifying vocabulary to all the ways in which a person can be hurt.

For his new memoir, Predator, Ander Monson watched the eponymous 1987 action flick 146 times.

Wes Anderson’s The French Dispatch is a movie in vignettes, a whole that emerges through the sum of its parts.