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The Carletonian

The Carletonian

The curse of growing up: A review of “Kiki’s Delivery Service” (1989)

Collin Preves April 20, 2023

Part of what makes a Studio Ghibli film so magical is Hayao Miyazaki’s love of flight, using his fluid animation to render beautiful scenes of his characters taking to the air. How these characters...

Misconduct(ing): A Review of “TÁR” (2022)

Collin Preves April 13, 2023

Field’s “TÁR” begins with a ten-minute interview with our titular character in which almost every other line of her dialogue is an obscure classical music reference. Lydia Tár (Cate Blanchett)...

Just what the doctor (teeth) ordered: A review of “The Muppet Movie” (1979)

Collin Preves March 2, 2023

Optimism is underrated. Movies with cynical worldviews give a lot of food for writing, but it’s easy to get trapped in their dour mindset. You do need to remember that there is good in the world occasionally,...

My dad had phone sex with me!? (NOT CLICKBAIT): A Review of “I Love My Dad” (2022)

Collin Preves February 23, 2023

Patton Oswalt not only catfishes his son over the course of“I Love My Dad” but also flat-out catfished me. I entered expecting a quirky Patton Oswalt comedy, but I left having inhaled sharply and...

The tortured music of contradiction: A review of “Judas and the Black Messiah” (2020)

Collin Preves February 9, 2023

The saxophone of Rashaan Roland Kirk’s “The Inflated Tear” wails in warning, distress and desperation as we follow a Black man in a trench coat in Chicago at night. He bursts into a club, shows...

Bikes, blood and brutality: A review of “Akira” (1988)

Collin Preves February 2, 2023

I have come to the conclusion that animated body horror is infinitely better than live-action body horror. This not only arises from how much of an aversion I have to live-action body horror, but because...

Letting love shine through the cracks: A review of “Pariah” (2011)

Collin Preves January 26, 2023

The quest to find oneself is a common one explored in a media of all stripes, but director Dee Rees applies a patient and heartbreakingly specific touch in crafting her 2011 film, “Pariah.” The film...

High octane anti-colonialism: a review of “Black Panther” (2018)

Collin Preves January 19, 2023

      The first thing I’ll say about Coogler’s “Black Panther” is that watching it causes the sequel to make a great deal more sense to me. My relationship to Marvel films...

“Gentlemen, You Can’t Fight in Here! This is a War Room!”: A Review of “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964)

Collin Preves November 10, 2022

For most Americans fearing the implications of the Space Race, Nuclear Arms Race and everything communist in general, a biting political satire about all of this was the last thing they likely wanted…...

This is a Halloween double feature: A joint movie review 

Collin Preves November 3, 2022

     I had two unique cinematic experiences this past week: The Film Society’s screening of Sharman’s “The Rocky Horror Picture Show” and Selick’s “The Nightmare Before...

Hatred as the antithesis to nature: a review of “Princess Mononoke” (1997)

Collin Preves October 27, 2022

Studio Ghibli has been on the frontlines of defending animation’s status as an art form rather than a children’s genre for decades. A close friend of mine put it best when they said that Ghibli movies...

For Lack of A Better Word: Fantastic

Collin Preves October 13, 2022

If nothing else immediately pounces on you upon starting Anderson’s Fantastic Mr. Fox, then the gorgeous colors certainly will. This vibrantly crafted world of fall hues perfectly reflects our cast...

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