By: Laura Miller

A passport to another world that Jeffrey only thinks he wants to visit.

By: Lucy Sante

Weaponry, war between sexes, television culture, moral decay, and of course advertising…

By: Carlo Rotella

You spend the whole scene wondering when the hovering hand will start powdering again.

By: John Sellers

WHY DON’T THEY EAT THEIR KILL

By: Mark Kingwell

Every kid I knew had a favourite Thunderbird.

By: Alix Lambert

In slowness there is a value, anticipation, a treasuring of the physical object.

By: Tony Arcabascio

Nothing could fuck with me when I had that extra skin on.

By: Devin McKinney

The machines are our friends. They want to help.

By: Annie Nocenti

Locke slips out of his own clothes and into Robertson’s life.

By: Guy Trebay

Both a key to the plot and a kind of subliminal tell.

By: Chris Lanier

The tinny smallness of the IKARIE XB-1 acquires an urgent poignancy.

By: Jonathan Lethem

It’s a sort of talisman or conch shell from which Ish derives his authority.

By: Dave Walker

“Only six of these cameras were ever made. Only five of them ever worked. We have four of those.”

By: Madeline Ashby

They’re bargained for and killed for and they’re worth sacrificing marriages for.

By: Dan Fox

The movie’s meaning is dreamily fungible.