Articles by Roberto Montiel

The Critical Movie Critics

Roberto is a PhD recipient in Philosophy and Postcolonial Literature.


Movie Review: Loving Vincent (2017)

As you get immersed in the world of Loving Vincent you quickly realize that it is not the shiny technique alone that makes you feel as though you were floating inside Vincent van Gogh’s brushstrokes, but that, as happens with his painting, there is a profound love for the subject driving each and every frame…

Movie Review: The Florida Project (2017)

It’s funny what language can do, the unintended irony behind words and concepts and colors that were likely never part of any authorial intent. But, then again, maybe they were. That’s the inexhaustible fertility of art; it transcends, whether it wants it or not, intentions. That’s the case with Spanish, still sprouting in a place…

Movie Review: Metamorphoses (2014)

It feels like an exercise that is an illustration that looks like a transmutation passing for an adaptation in drag while clothing itself with cues of sensuality where there’s little more than a holographic reflection of flesh come true with some make belief bleeding. In reality, though, Christophe Honoré’s Metamorphoses uses its original more as…

Movie Review: We Are X (2016)

At the point in which Yoshiki, musical ombudsman, drummer, keyboardist/pianist and main songwriter of the Xtremely popular X Japan (simply X in Japan, though not in Japanese, for this is no ideogram, but only an alphabetic, apathetic X), Xtremely so in their Pacific archipelago, mythical prophets in their own land . . . at the…

Movie Review: Problemski Hotel (2015)

“Heaven. Heaven is a place. A place where nothing, nothing ever happens” — Talking Heads, “Heaven” So, you’ve just been suspended. Suspended in time. In space. A literal suspension that leaves you wandering around everywhere and nowhere all at once. That prolonged feeling we sometimes, sadistically, seek (sick!) when watching a horror flick. True horror…

Movie Review: The Last Laugh (2016)

“A word — you know: a corpse. Come let us wash it, come let us comb it, come let us turn its eye heavenward.” — Paul Célan, “Nocturnally Pursed” In 1951, a little more than six years after the Nazis were defeated and the last camp debarred, the German philosopher and critical theorist Theodor Adorno…

Privacy Policy | About Us

 | Log in

Advertisment ad adsense adlogger