Ben Sachs
Ben Sachs

Ben Sachs

I started writing film criticism for the Reader in September 2010 with a capsule review of the wrestling movie Legendary; since December 2011 I've written daily posts for the Bleader. Before that, I had been a regular contributor to the local website CINE-FILE, for which I'd been writing since its conception in 2007. I also cowrote a series of essays on Takashi Miike for Mubi.com in 2010. In other movie-related business, I've introduced screenings at Doc Films, taught classes at Facets Multimedia, and continue to volunteer regularly at Bucktown’s Odd Obsession Movies. Major influences: What is Cinema? by Andre Bazin, Films and Feelings by Raymond Durgnat, The Moviegoer by Walker Percy, Hollywood from Vietnam to Reagan by Robin Wood, and every film critic who’s written for the Reader.

Ben Sachs writes about moviegoing every Monday.

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<i>Vox Lux</i> and <i>The Mule</i> present two very different responses to our nation’s ills Vox Lux and The Mule present two very different responses to our nation’s ills While one finds only despair, the other argues that we’re still capable of kindness, despite the terrible things we do. December 21, 2018
Ben Sachs picks the top ten—well, 13—movies of 2018 Ben Sachs picks the top ten—well, 13—movies of 2018 A mix of the new, the old, and new work by the old December 21, 2018
<i>Life & Nothing More</i> takes a long, hard look at a working-class woman and her son Life & Nothing More takes a long, hard look at a working-class woman and her son Antonio Méndez Esparza's unscripted docudrama shows people who are just trying to get by. January 18, 2019
Lee Chang-dong’s <i>Burning</i> demonstrates the perils of trying to adapt Haruki Murakami to the screen Lee Chang-dong’s Burning demonstrates the perils of trying to adapt Haruki Murakami to the screen The new Korean film feels like a stalemate between two master storytellers. November 30, 2018
In <i>Shoplifters</i>, the sharpest insights are blurred by sentimentality In Shoplifters, the sharpest insights are blurred by sentimentality Hirokazu Kore-eda’s film about an impoverished makeshift family won the Palme d’Or at the 2018 Cannes Film Festival. December 14, 2018

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