Can you believe it’s already October again? Man, 2015 is just flying by. September was a great month for Film Inquiry: we made our subscriptions available, we moved to a new and even better-looking layout, we published our very first podcast… Altogether, Film Inquiry has greatly improved again!

We also published some great articles last month: Beginner’s Guides to David Lynch‘s, Wes Craven‘s, Alfred Hitchc*ck’s and Spike Jonze‘s work, a list of great documentaries, reviews of Black Mass, Everest, Legend, and many more movies, and we discussed topics like classic film, artificial intelligence in film, reading the books when they get an adaptation, as well as television as a creative medium. In case you missed them, here are our ten favorite articles of September 2015, in no particular order.

The Beginner’s Guide: David Lynch

David Lynch has one of the most polarizing bodies of work in Hollywood (though he is objectively one of the nicest and most genuine people there). His films divide audiences like they were born of a marriage between Moses and Solomon. Filled with peculiar idiosyncrasies and defiantly flaunting conventions of both genre and narrative, Lynch’s films have been stubborn in their consistency for most of his career. As a result, people who were turned off by one of his films at some point in their life often are confident that their distaste is justified and can applied to the entire Lynch oeuvre. […]

Read the rest of Arlin Golden’s article

Film Inquiry Podcast #1: ME & EARL & THE DYING GIRL & 3 Disappointed Critics

Introducing the first episode of the tentatively titled ‘The Film Inquiry Podcast’, where each episode myself (Alex Lines) will be joined by two of our writers to pick apart and discuss a different film. In our initial episode, I’m joined with Julia Smith and Alistair Ryder, who I stupidly forgot to name in the podcast episode itself. As Julia, Alistair andI were all disappointed with the 2015 indie darling Me and Earl and the Dying Girl, we talk about what exactly we didn’t like about it and try to break down who exactly the film was aimed towards. This slides into another discussion on Judd Apatow’s latest comedy, Trainwreck and how Apatow’s directing conflicts with Amy Schumer’s writing. […]

Listen to our very first podcast

THE END OF THE TOUR: A Road Movie For the Ages

Among the final moments of The End of the Tour, author David Foster Wallace (Jason Segel) pulls his interviewer David Lipsky aside and says: “I don’t think you wanna be me.” Lipsky (Jesse Eisenberg) objects with the same how-could-you look I’ve returned incriminating but sensible remarks. He’s failed to conceal quasi-little-brotherly admiration for Wallace, and is frustrated by his revealing behavior and the circumstances that shape it. Lipsky is a writer while Wallace is, well, a much better writer; a quipster vs. a colossal humorist. He’s frustrated, in short, with the difference between himself and genius. […]

Read the rest of Gareth Schoonover’s review

The Film Tropes of Artificial Intelligence

 

Robots have been present in films for years, but the more specific element of these mechanized beings that is often highlighted in these films is what makes them tick (so to speak), or what makes them think. This, more often than not, is artificial intelligence. Artificial intelligence, or A.I., has been a driving force in multiple films that examine human nature, technology, religion, man’s desire to play God, and the dangers inherent in advancing the limits of engineering and science. […]

Read the rest of Alexander Miller’s article 

Your Unofficial Guide to the 59th BFI London Film Festival

This year there are 238 films, from 57 different countries showing at the 59th BFI London Film Festival. A star-studded event which draws crowds from Europe and across the globe. With its various Galas, Official Competition and hordes of talent – there is only one question worth asking. What films should I see? […]

Read the rest of Becky Kuckla’s article

BLACK MASS: Johnny Depp Almost Saves an Average Gangster Film

 

There is a right way and a wrong way to tell a gangster story. Some of the very best have utilized inventive camera techniques, are fueled by impressive acting talent, and are backed by an engaging, well-written screenplay. Black Mass attempts to be something great; yet, when thinking back to it, it’s likely only the acting that will be remembered. The film is riddled with common gangster tropes and underdeveloped characters. But at the same time, it contains one of Johnny Depp‘s best performances in years, a role that will likely gain him some acclaim come awards season. […]

Read the rest of David Fontana’s review

The Importance Of Watching Oldies

Editor’s Letter of Week 39 – This week, I decided to catch up on some old movies. I’ve seen my fair share; more than most of the casual film watchers, probably fewer than the average film student. I think my first oldie, if we’re going to be fair, was Snow White and the Seven Dwarfs. Whose wasn’t it? Most Western children are still subjected to the good, old Disney films even to this day. They don’t age. […]

Read the rest of Manon de Reeper’s article

Forget Your Troubles: Ten Films To Make You Happy

Film is a great healer. And for everyone reading this article there will have come a time when you have turned to a movie to find solace from the troubles of life. Because, let’s face it, life sucks. For some this film will be an old favourite, perhaps one that reminds them of their childhood, or maybe just a film that for whatever reason makes them happy. Those are the kind of films I want to talk to you about. […]

Read the rest of Julia Smith’s article

Is Television Becoming The New Creative Medium?

Watching House of Cards, I’m amazed at how in depth and complex these characters can be, and how the show runners are able to create multiple storylines while simultaneously keeping you, as the viewer, interested. To develop characters to the extent that you can in television is something to be commended, and I’m left wondering: where are the movies that do this? […]

Read the rest of Alexzandria Windley’s discussion

Loneliness in Film: An Analysis of Colours

Breaking the boarders with transnational themes and making people cry and laugh in the same way? Genre as a global system? Why not! Looking at the popular genre combination of romance and comedy this is very much possible. And I am not talking about hangovers and comedy arising from friends-with-benefits relationships. Let us move away from the classical Hollywood entertainment and get observe emotions portrayed in art movies. Cruelly funny or painfully dreamy, the theme is the same – alienation of the subject from the society. And yes, it is the same in art cinema across the world. […]

Read the rest of Manca Perko’s article

 

What were your favorite articles this month? Let us know in the comments, and we’d also love to hear it if you have any suggestions.

(top image: Amélie – source: Miramax)