Melissa Anderson

Pasolini’s Salò meets red Solo cups in Goat, Andrew Neel’s deep, dank dive into the depravities of frat pledging that operates as its own kind of hazing ritual. Points are made and lessons imparted with all the subtlety and finesse of a Greek paddle to the head. Based on Brad......

A decade after the fact, the scandal of JT LeRoy — the HIV-positive, young male (though gender-fluid) writer adored by scores of global alt-celebrities who was revealed to be the creation of a woman named Laura Albert — is relitigated in Jeff Feuerzeig’s queasily absorbing documentary Author: The JT LeRoy......

Most war movies try to shock us with hard, brutal, tangible, sick-making images, demanding that we look at the visible proof — the blood and guts and other gore — that results from guns and bombs. In the searching, cogent Neither Heaven nor Earth, director Clément Cogitore examines the horrors......

Catherine Corsini’s lovely, sultry Summertime, a 1971-set tale about two women of different ages and class backgrounds who fall in love, celebrates erotic abandon but never loses its mind. Unlike Abdellatif Kechiche’s Blue Is the Warmest Color (2013), France’s most notorious treatment of a sapphic sentimental education, Corsini’s movie, which......

Kindly allow this lengthy aside and conspiracy theorizing: I can’t start my review of Paul Feig’s redo of Ghostbusters without first mentioning the stupefying chaos that attended last Thursday evening’s press screening, the only one of two scheduled a half-hour apart in New York before the movie’s opening. This unprecedented......

Teenage bodies are bared but fresh insight concealed in writer-director Eva Husson’s first feature, a dopey examination of Instagram-abetted adolescent abandon. Inspired by a news item that Husson came across in 1999 about a group of orgy-loving high schoolers in the United States, Bang Gang (A Modern Love Story), despite......

Octave Mirbeau’s The Diary of a Chambermaid, a 1900 novel about the depravities in all social strata written from the point of view of a servant named Célestine, has famously been adapted twice before, by two of cinema’s immortals. Benoît Jacquot’s uneven take on the material won’t challenge the stature......

With the perfect timing of a deadpan comic and the keen observational skills of a zoologist, Athina Rachel Tsangari highlights just how bizarre the most banal of human activities can be. In Attenberg (2010), the filmmaker’s previous feature, walking itself is presented as a deranged means by which to move......

As generic and impersonal as a new credit-card offer, Jodie Foster’s Money Monster is the latest big-studio production to try to cash in on populist outrage over Wall Street abuses and New Gilded Age inequality. There’s a lot of excitable talk about algorithms (or “algos”), the overuse of the term......

In an appreciation published in The Guardian a few days after the death of J.G. Ballard, in April 2009, Martin Amis noted that the paragon of New Wave science fiction was “remorselessly visual.” Ben Wheatley’s muddled adaptation of the dystopian 1975 novel High-Rise — one of many Ballard books that......