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Mamoru Oshii’s Angel’s Egg

Multiple generations of American anime fans have only been able to appreciate Mamoru Oshii’s beguiling art film in bootleg form—whether via imported home media or online links. But despite originally being made to go direct-to-video, this is absolutely worth catching on a big screen, in an environment where a viewer can be fully immersed in the movie’s gorgeous visuals and uncanny tone.

Andrew Dominik’s Blonde

As it is, Andrew Dominik’s Blonde (2022) is the twenty-second movie about Monroe, and when you look past its eye-rolling shock factor, its high-profile actors, and its attempts at arthouse, it remains the same tired story we’ve always gotten. But this time, Andrew Dominik, Joyce Carol Oates, and even Ana de Armas have the audacity to tell us that what they’ve done to Monroe is a feminist act.

Park Chan-wook’s Decision to Leave

The film begins with a misleading suggestion of violence, which, when paired with the immediate verbal clarification that there actually isn’t any, serves as a witty meta commentary on the place of Decision to Leave within Park’s typically violent filmography.

Kevin Smith’s Clerks III

Returning to his roots with a long delayed sequel to his breakout film, Kevin Smith’s final entry in the Clerks trilogy is perhaps his most sincere and earnest film. It is also a product of Smith’s life and wild career.

The 60th New York Film Festival

An indie art film, a historical biopic, and an adventurous satire from this fall’s festival. Oh my!


The Brooklyn Rail

NOV 2022

All Issues