Crime · LGBT & Queer · Writers & Critics
Someday someone will tease apart the many layers of Damon’s performance: the charming Ripley, the frightened Ripley, the exposed Ripley, his voice subtly betraying him even as face remains serene.[…]
Directors · Interviews · Visual Artists · Writers & Critics
MIKE LEIGH: People have said to me, “Oh, I’m surprised Turner was like that, I would have thought he would be rather Byronic and beautiful and ascetic and nervously brilliant”[…]
Drama · Essays · Writers & Critics
Lincoln (2012) & Wolf Hall (2015)/Les Miserables (1933) & Great Expectations (1946/2012) * * * So, notwithstanding humanist art or realistic biography, we go on hurting each other. “Everybody hurts,” as[…]
DVD & Blu-ray · Essays · Historical & Epic · Writers & Critics
He was the spectator at his own drama, like a person at a play he doesn’t understand. – Victor Hugo1 “On the other hand, I don’t want to do Petronius[…]
Books · Directors · Interviews · Writers & Critics
I could begin to see how the movie was art imitating life and then morphed into life imitating art, with such a palpable sense of the greatest director who ever lived[…]
Directors · Drama · Reviews · Writers & Critics
That Anderson chose to adhere so closely to the novel indicates a lack of desire to transform or elevate the work, and, regardless of whether or not this was motivated[…]
Essays · New Media · SF & Fantasy · Writers & Critics
“What Jonze, Coover, and Švankmajer are all playing with in their distinctive, varying shades of dark humor are the dual perspectives of the Spielbergian audience, absorbed in the protagonists’ fantasies,[…]
Directors · Documentaries · Reviews · Writers & Critics
“Jodorowsky capitalizes on the cachet of exclusivity, the wonderful feeling of being one of the elite few who “get it,” and, in treating it like a source of esoteric wisdom,[…]
Crime · TV & Streaming · Writers & Critics
“The end has already happened, and all Rustin Cohle and Marty Hart can do is arrange the bodies in a pattern that makes them look less like bodies, more like[…]
“While I get Sam Goldwyn’s point about messages and Western Union, I think Shakespeare is always sending the same one: to overcome our worst weaknesses, first we must see them[…]
“Everything goes on in the mind of a man who, nominally at least, has absolute power at court and who, until a few moments before, felt secure in the mutual[…]
Exploitation & Erotica · Reviews · Writers & Critics
In honor of Vincent Price’s birthday (May 27, 1911-October 25, 1993), we present Sean Nortz’s thrilling exegesis of one of the actor’s most intriguing and downright bizarre films. (After this piece[…]
“[Jack] Kerouac declared in his preface to Galloway that the young artist ‘is colored by his symbols. His hue is vivid: he postures.’ This because the artist is in growth,[…]
BLFJ News · Interviews · Writers & Critics
In the shameless self-promotion department (and because it’s his birthday), we decided to retrieve this interview with Bright Lights’ head honcho Gary Morris. Our favorite interviewer, Matt Sorrento, talked to him in[…]
Sorrentino’s award-winning drama opens with a quote from Céline‘s Journey to the End of the Night: “To travel is very useful, it makes the imagination work, the rest is just delusion and[…]
Where all this takes me is to the thought that fiction frequently presents human personality as something lost or imprisoned – by self-ignorance and suspicion if by nothing worse. “We’re[…]
Drama is about extremity. This can centre on one person, or on his/her society or both. Without it drama cannot exist. But what if the world’s greatest dramatist starts testing[…]
Comedy · Directors · Essays · Writers & Critics
“Nowadays, schlubs play schlubs and audiences are expected to accept that geeky males can win over classically beautiful women. What does it tell us about the state of gender relations, sexual fantasy, and desire that a physically average geek like Seth Rogen can trump an iconically attractive and glamorous star like Cary Grant?”
Actors & Personalities · Writers & Critics
Some of the films of Noël Coward, some of the films of Ernst Lubitsch, and one of the films of Oscar Wilde
“Matheson was able to get right to the heart of the matter, to expose the raw nerve at the base of our collective paranoia and atomic anxiety, to realize all inner demons were projections outward, and vice versa…”
