Keith Archive

Movie Review: ‘The Automatic Hate’

A family is, if nothing else, a repository of history, much of it submerged, kept secret. But secrets are vexingly difficult to keep among family members. Someone is always willing to do the digging to uncover one’s own family history. There is a sense ...Read More

Movie Review: ‘Road Games’

In the classic first-season “Simpsons” episode “The Crepes of Wrath,” Principal Skinner, desperate to get Bart out of the country, shows him a picture of a beautiful French chateau. But when Bart arrives in France, he finds a dilapidated mansion inhabited by two unscrupulous ...Read More

Movie Review: ‘The Wave’

The disaster movie is an odd genre when you think about it. Turning destruction and mass death into popcorn-friendly spectacle, these films primarily exist to awe us with their state-of-the-art special effects while keeping us at arms-length from the actual horror we are ostensibly ...Read More

Documentary Review: ‘Becoming Mike Nichols’

In “Becoming Mike Nichols”—a chummy film-length conversation between theater director Jack O’Brien and legendary theater and film director Mike Nichols about the latter’s early life and work, covering the period from his birth in pre-war Germany to his Best Director Oscar win in 1968 ...Read More

Movie Review: ‘White Crack Bastard’

“White Crack Bastard” is a tough movie to defend. It’s a meandering, eager-to-offend piece of pseudo-exploitation, ostensibly satirizing white male privilege while engaging in a fair amount of racial, gender, and gay stereotypes itself. The whole framework of director James Cullen Bressack’s tale of ...Read More

Movie Review: ‘Cabin Fever’

I haven’t seen Eli Roth’s “Cabin Fever” since shortly after it came out in 2002, and I remember shockingly little of what happens in it. What I do recall is that it was a relatively fun, self-aware, and, at the time, refreshing tweak of ...Read More

Movie Review: ‘Already Tomorrow In Hong Kong’

It is impossible to discuss “Already Tomorrow in Hong Kong,” writer-director Emily Ting’s debut feature, without bringing up Richard Linklater’s “Before” films (”Before Sunrise,” “Before Sunset,” and “Before Midnight”). Ting’s film is so clearly modeled on Linklater’s template—man and woman, both attractive, converse and ...Read More