This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Red Riding: In the Year of Our Lord 1974, directed by Jullian Jerold. …more

This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Ghost Writer, directed by Roman Polanski. …more

This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Soldier Blue, directed by Ralph Nelson. …more

This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Battle of Algiers, directed by Gillo Pontecorvo.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Notes on a Scandal, directed by Richard Eyre and based on a novel by Zoë Heller.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Bring Me the Head of Alfredo Garcia, directed by Sam Peckinpah.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Aspen Extreme.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Gerry, directed by Gus Van Sant.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Raw Deal by Anthony Mann.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine the Blair Witch Project and compare it with the novel House of Leaves, which I sample at the 10%, 40%, and 70% marks.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Host, directed by Bong Joon-ho.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Straight Time, directed by Ulu Grosbard.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Mildred Pierce, directed by Michael Curtiz.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Return, by Andrei Zvyagintsev.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Descent, by Neil Marshall.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Foreigner, by Amos Poe.
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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine New Moon, with notes on Twin Peaks and surrealism.
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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? …more

This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? …more

This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? …more

This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? …more

This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? …more

This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves? No compromise: …more