Venice Review: Hit Man is a Sexy, Alluring Addition to Richard Linklater’s Corpus
One night in 2016, I was working at a small movie theater in Austin, Texas, when a man leaned over the cash register and shook my hand. “Thanks for tonight,” h...
Luke Hicks
Venice Review: Sofia Coppola’s Brilliant Priscilla is a Breezy, Crushing Biopic
Raised in tow of a military stepfather, 14-year-old Priscilla Beaulieu lives in a West German US Air Force base when we meet her in 1959––the year she meets El...
Venice Review: Michael Mann’s Ferrari Finds Religion on the Racetrack
In Modena, everyone is losing––the football club, the women, the Ferraris. It’s the spring of 1957, and ex-racer-turned-entrepreneur Enzo Ferrari (Adam Driver)...
Venice Review: Yorgos Lanthimos’ Poor Things is a Dense, Dizzying Showcase for Emma Stone
Bella Baxter––whose organic internal makeup I’ll leave to shocking reveal––was born an adult woman. The furiously beating heart of Yorgos Lanthimos’s new film,...
Cannes Review: Perfect Days is Wim Wenders’ Strongest Fiction Feature in 20 Years
Wim Wenders is back, and he’s brought Lou Reed (still dead) with him. It’s not that Wenders hasn’t been making films. He has. It’s just that the only good ones...
Cannes Review: Marco Bellocchio’s Kidnapped Inertly Examines the Catholic Church’s Antisemitism
For his last trick, at the 2022 Cannes Film Festival, Italian maestro Marco Bellocchio turned the 1978 Red Brigade kidnapping and assassination of Prime Minist...
Cannes Review: Wes Anderson’s Asteroid City is an Absolute Delight
Wes Anderson has done it all: India by train, Rhode Island by foot, the Mediterranean by sub, France by bike, faux-Germany by hotel, apple-orchard America by f...
Todd Haynes on the Moral Instability of May December, Criticizing Suburban Life, and Netflix
On the heels of his premiere, nine hours after Netflix bought his newest film for $11 million, Todd Haynes is a happy man, seated casually at breakfast in the ...
Cannes Review: With May December, Todd Haynes Finds a Mercurial, Humorous Perspective on a Scandal
It would be one thing for someone to have their life portrayed onscreen by an A-list actor, and another to invite that actor into their home for accuracy, to m...
Cannes Review: Martin Scorsese Triumphs with Killers of the Flower Moon
Wolves are not subtle creatures. It’s a rhetorical question: “Can you find the wolves in this picture?” Who couldn’t spot wolves among humans? They’re much sma...
Luke Hicks
A New York City film journalist by way of Austin, TX, Luke is an arts enthusiast who earned his master’s studying film philosophy and ethics at Duke. He thinks every occasion should include one of the following: coffee, whiskey, tea, gin, beer, or olives.