Budd Wilkins
Professional Film Critic at Slant Magazine
Professional Film Critic at Freelance
Professional film critic & historian writing for @VideoWatchdog, @Slant_Magazine, and other publications.
Articles
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1 month ago |
slantmagazine.com | Budd Wilkins
Arthur Penn’s Night Moves is one of the great revisionist noirs, taking its place alongside Robert Altman’s The Long Goodbye and Roman Polanski’s Chinatown. Like those films, it not only brazenly subverts the tropes of the classic Hollywood private eye film, but also uses the genre’s pervasive aura of moral corruption and social anomie to comment on the American scene in the wake of political scandals and the collapse of the 1960s counterculture into the rampant self-absorption of the Me Decade.
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1 month ago |
slantmagazine.com | Budd Wilkins
Genre-hopping maverick Elio Petri’s half-mod, half-madcap ’60s mindbender is set in a dystopian society obsessed with a government-sponsored game known as “The Big Hunt” that pits volunteer hunters against victims in mortal combat.
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1 month ago |
slantmagazine.com | Budd Wilkins
Between 1964 and 1981, Oldřich Lipský and Jiří Brdečka collaborated on a loose trilogy of films, each of which paid loving, yet subversive, homage to a strain of pop culture that would’ve been seen as hopelessly disreputable by the Communist authorities in the former Czechoslovakia. Lemonade Joe is a tribute to the John Ford western, while Adela Has Not Had Supper Yet tinkers with the conventions of the private eye film.
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1 month ago |
slantmagazine.com | Budd Wilkins
Czech writer-director Jiří Weiss’s The Golden Fern is a dark and haunting fairy tale, albeit one that’s grounded in an earthy naturalism. Rather than lean heavily into the surreal, as these films often do, Weiss subtly weaves elements of the magical or miraculous into an otherwise straightforward narrative, thereby cannily introducing aspects of the uncanny. As for the moral lessons implicit in the story, The Golden Fern touches on weighty themes of arrogance, ingratitude, and infidelity.
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1 month ago |
slantmagazine.com | Budd Wilkins
Robert Wynne-Simmons’s The Outcasts is a haunting and ultimately melancholy study of social ostracization and rebellion that takes place in rural Ireland sometime before the potato famine of 1845. The film felicitously combines an almost documentarian concern for the folkways of the peasants who till the muddy earth and the delicately wrought magical elements found in an Irish folk tale.
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Six-breasted Satanist biker chick with punk rock flair. Cheesy synth score. Gratuitous reincarnation. Trash-talking streetwalkers. And yet, despite some inadvertent hilarity, this thing manages to be mostly humdrum. https://t.co/VzTaLwkduL
