Nothing here deserves to be characterized as morbid. Indeed, quite the opposite.
Simon Abrams is a native New Yorker and freelance film critic whose work has been featured Esquire, the Village Voice and elsewhere.
Simon started his career as an arts critic writing comics reviews for the Comics Journal. He conducted the cover interview with writer Robert Kirkman in issue #289. After writing film reviews for the New York Press and Slant Magazine, Simon wrote film reviews for the Village Voice, an outlet that he now regularly contributes feature interviews and capsule reviews to. This past November, Simon wrote the cover interview with the Wachowski siblings.
Simon has also spoken at a number of panel discussions in New York. This past December, Simon helped to organize and participated in a panel discussion at 92YTribeca on Jean-Luc Godard's King Lear, and in January, Simon spoke at the Museum of Modern Art during a panel discussion on Pier Paolo Pasolini's Trilogy of Life. Simon's currently writing a book on the exploitation of blood and gore on film.
Simon Abrams reports from the Sundance Film Festival.
Twenty-five films about Zatoichi, the blind swordsman, are gathered in a new box set from Criterion.
Spike Jonze's "Her" is a warm and intelligent consideration of our continually evolving relationship with technology.
Kiyoshi Kurosawa's Dreamy sci-fi "Real" and the hilarious "Alan Partridge: Alpha Papa" at the New York Film Festival.
Ultra-indie director Cory McAbee ("The American Astronaut," "Stingray Sam") talks about making musical sci-fi cowboy movies, writing an opera and the Monkees.
Simon Abrams reports on the New York Film Festival.
Simon Abrams muses on the limits of the supposed provocations on "a handful of Bratty, pseudo-adult comics" including Kick-Ass, Irredeemable and Crossed.
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
Steve Coogan has a talent for self-laceration. His best roles are all about him, or rather a reflection of himself that he finds funny, in a pathetic sort of way.
"Blood Feast" is a terrible film, and a historically important one, too. On the fiftieth anniversary of its release, Simon Abrams revisits this gore-fest.