Adam Nayman is a contributing editor for Cinema Scope and writes on film for Montage, Sight & Sound, Reverse Shot and Cineaste. He is a lecturer at Ryerson and the University of Toronto and the author of Showgirls: It Doesn’t Suck (ECW Press) and Ben Wheatley: Confusion and Carnage (The Critical Press).
He tweets at @brofromanother.
Articles by Adam Nayman
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From the Magazine
Dark Waters review: Mark Ruffalo takes up weary arms against a malicious multinational
There’s something deadly in the water in Todd Haynes’s bleak but subtly powerful David-versus-Goliath legal thriller, writes Adam Nayman.
Wednesday, February 26, 2020
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From the Magazine
Once Upon a Time… in Hollywood review: Quentin Tarantino unleashes his nostalgic fetishes
Leonardo DiCaprio and Brad Pitt play a fading star and his stunt double whose rambling exploits in late-60s Hollywood run into a real-life tragedy in Tarantino’s luminous meta-western, writes Adam Nayman.
Wednesday, August 14, 2019
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From the Magazine
Film of the week: Sorry to Bother You is an unruly, outrageous corporate satire
The grasping racial politics of late-stage capitalism come under fire in Boots Riley’s wildly inventive comedy, starring Lakeith Stanfield as an office worker who gets too close to the truth, writes Adam Nayman.
Thursday, December 6, 2018
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From the Magazine
Ant-Man and The Wasp review: miniaturised Marvel caper wins on zing
For a character on the fringes of the Cinematic Universe, Paul Rudd’s shrinking superhero has some impressive smarts – even if this sequel doesn’t always take flight, writes Adam Nayman.
Friday, August 3, 2018
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From the Magazine
Film of the week: Loveless takes a symbolic hammer to a family tragedy
Andrey Zvyagintsev’s latest film manipulates the story of a divorcing couple and a missing child to pass comment on Russian politics. It’s a pity it feels so forced, writes Adam Nayman.
Thursday, February 8, 2018
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From the Magazine
Film of the week: Phantom Thread unravels the relationship between an artist and his muse
Daniel Day-Lewis stars as a chilly 1950s couturier resisting romantic intimacy in Paul Thomas Anderson’s slyly comic Hitchcockian drama. It’s his most ambitious and surprising film yet, writes Adam Nayman.
Thursday, February 1, 2018
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From the Magazine
Film of the week: Happy End is a welcome departure for Michael Haneke
There’s much in the director’s latest that recalls his previous work, but this oblique, often hilarious film also marks a shift to a lighter tone, making it his most interesting work since 2005’s Hidden, writes Adam Nayman.
Thursday, November 30, 2017
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Mudbound review: families at war on home soil
In Dee Rees’s mythic and superbly acted family saga set in the Mississippi Delta in the 1940s, two young men return from the front only to find bigotry and poverty tearing their community apart, writes Adam Nayman.
Wednesday, November 22, 2017
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From the Magazine
Film of the week: Good Time takes a spin around Robert Pattinson’s no-good hood
A frenetic bungled-heist thriller following the former Twilight star on a whirlwind tour of the New York streets, the Safdie brothers’ latest is as morally disorienting as it is cinematically expressive, writes Adam Nayman.
Thursday, November 16, 2017
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From the Magazine
Film of the week: Moonlight, a prism of repression and desire, awash in poetry
Barry Jenkins’ three-ages portrait of a queer black youth comes bearing a weight of significance; but its nuanced ensemble performances and agile formalism give it a rare beauty and tenderness, writes Adam Nayman.
Thursday, February 16, 2017
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Reviews, interviews and features from the international film magazine.
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