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Erik Morse

Pure war

YEAR IN FILM: The year hyperreal cinema of the combat zone replaced pedestrian politicking

Peeping Tomás

Pedro Almodóvar turns himself inside out with Broken Embraces

Clean freak

Good help is hard to find (and keep) in The Maid

Domestic disturbances

Mill Valley Film Festival picks uncover mysteries of the home front

Next-door horror

Catherine Deneuve holds the line with a re-release of Polanski's Repulsion

Bare life

Downloading Nancy interrogates sacrifice in the hyperdigital zeitgeist


Transforming from an urban neo-noir to a village morality play and a bedroom character study

The accidental tourist

Jim Jarmusch journeys through The Limits of Control

The life aquatic

A bevy of seaworthy DVDs bubble up

Everyday wisdom

Examined Life brings theory to the streets

To a pulp

"One-Two Punch" stalks noir from page to screen

Souther-fried nocturne

William Eggleston's lost film Stranded in Canton is an extraordinary exegesis on the ordinary

Story of the eye

"Brought to Light" charts science and the modern gaze

Bump(s) in the night

Fear(s) of the Dark offers an animated omnibus of juvenile dread

Gore, no?

High Life surfs waves of bloody "gorno"


Wanted and Desired takes aim at Roman Polanski and the culture of celebrity

A rictal dysfunction

80 years later, The Man Who Laughs is a mutilation masterpiece

“Jim Campbell: Home Movies”

The technophile artist has arrived at a startling depiction of memory and magic

Blondells have more fun?

Another look at an enigma from cinema's so-called Golden Age

Speed Reading

Comics and openers: The Ten Cent Plague and Uncredited

Locus Solus

Guy Maddin on interior space, hair-dryers, and orange Jell-o

Listening deeply to future’s past

Autechre skitters between the post-classical, the plug-in, and the dance floor

“Protest in Paris 1968: Photographs by Serge Hambourg”

America wasn't the only place that wanted a revolution


A personal obsession with traveling and shooting the country