Alan Scherstuhl

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  • 13 days ago | Film Reviews

    There's no reverie that Alonso Ruizpalacios' Güeros can't shatter, no presumed truth it can't complicate, no expectation of closure it won't dash. Set in Mexico City during 1999's 292-day student strike at Universidad Nacional Autónoma de México, ...

  • 13 days ago | Film Reviews

    One of the nastiest tricks the bastards ever played was to convince so many artists that it's best never to be strident. In the name of aesthetics or audience-pleasing or just not wanting to come off as shrill, a great many artists deny themselves...

  • Benicio del Toro looms on the poster for Escobar: Paradise Lost in full hollow-eyed mustachioed grandeur, his deadly visage filling the sky above a teensy image of a white dude running along with a gun. What a surprise, then, to discover...

  • One of the nastiest tricks the bastards ever played was to convince artists that it's best never to be strident. Nina Simone's still-vital "Mississippi Goddam," from 1964, is a grimly jaunty showtune, an uneasy experiment in which the song's form...

  • There's no reverie Alonso Ruizpalacios's Güeros can't shatter, no presumed truth it can't complicate, no expectation of closure it won't dash. Set in Mexico City during 1999's 292-day student strike at the Universidad Nacional...

  • 20 days ago | Film Reviews

    After a decade of TV work and a not-bad kids flick, director Joe Dante — like his '03 Looney Tunes — is back in action. But instead of harking to the matinees that once inspired him, his zombie-girlfriend embarrassment Buryin...