Ryan Coleman

Ryan Coleman has been a member of Linktree for 4 years and joined in April 2022. The social media accounts linked to from Ryan Coleman are: • Instagram • Email • X Besides social media accounts, ryanccoleman has populated their site with: • 'MaXXXine' Review: A Well-Made but Forgettable '80s Pastiche • Ritual Humiliation: 'Deep Water's' Miserable yet Penetrating Look at Male Sexuality • Agnieszka Holland by Ryan Coleman • Why 'The Exorcist' Still Haunts Us 50 Years Later • ‘Kinds of Kindness’ Shines a Floodlamp on Yorgos Lanthimos’s Worst Tendencies • AG Rojas: The End of Suffering • Watching in L.A.: The Los Angeles Festival of Movies’ First Year • BOMB Magazine | Marie Kreutzer • Theda Hammel by Ryan Coleman • Mentions: Close, Pacifiction, Nostalgia • 'All We Imagine as Light' Review: A Revelatory Urban Nocturne • Claire Denis’s Stars at Noon is a Cunning Improvement on the Source Material • [LAFM '24 Review] Malqueridas • Cannes Reviews: R.M.N., Corsage, El Agua, Paris Memories • [LAFM '24 Review] New Strains • Susie Searches – first-look review (TIFF) • Bertrand Bonello by Ryan Coleman • 'Art College 1994' Review: An Idyll of Youth in Repose, and Revolt • Review: The People's Joker — Vera Drew • Ideology Without Ideas: An Interview with Jessica Hausner • Your Literary Guide to the 2024 Oscars • Review: The Urania Trilogy — Tav Falco • Tyler Taormina by Ryan Coleman • Some Die in Battle, Some in Bed: 'Forever Amber' • Who’s Afraid of a Woman in Peril?: Revamping the Lifetime Movie with Doug Campbell • Patricia Mazuy by Ryan Coleman • A Natural History of Abuse: On Christine Kenneally's 'Ghosts of the Orphanage' • Alice Winocour by Ryan Coleman • Rebecca Zlotowski by Ryan Coleman • The Idol: Insecure And Miscast, But Sam Levinson Is Still Making Vital Television • Witness to Atrocity: On Sarah Polley’s “Women Talking” • Girls with Guns: how Tuesday Weld set the blueprint for Mia Goth • The Ends of the Affair: Conflict Between the Surface and the Depths of 'Halloween Ends' • With Prisoner's Daughter, Catherine Hardwicke Is Still Making Gritty Films About Independent Women [Exclusive Interview] • Cannes 2022: Why Greek Cinema is Having a Moment • Albert Serra’s Pacifiction is Deeply Unsettling—and Deeply Literary • Cannes 2022: Tunisian Pyromaniacs, Cronenbergian Regular Maniacs, And All The Horror Highlights • Paul Verhoeven’s 'Benedetta' Is a Disarmingly Sincere Inquiry into the Mystery of Faith • National Storytelling Network: Conversation with Maja Bumberák and Ryan Coleman • Councilmember O’Farrell’s Staff Lash Out at Local Bookstore for Supporting Unhoused Neighbors • The 'Scary' and the Profane: on Dasha Nekrasova's 'The Scary of Sixty-First' • Is This Desire?: On Jane Campion’s Anguished New Epic, 'The Power of the Dog' • Drugs, Sex, and Cinema: Michael Frost on his Re-Translation of Ivan Zulueta’s forgotten cult classic, 'Arrebato'