How to Kill the Queen of the Night: Tragedy Is No Joke, but It Can Be Deeply Funny
O wad some Power the giftie gie us, to see oursels as ithers see us! – Robert Burns, “To a Louse, On Seeing One on a Lady’s Bonnet At Church.” * *[…]
Category: Essays
Counterculture · Essays · SF & Fantasy · TV & Streaming
The Machine and Beyond: Male Hysteria in The Twilight Zone, Star Trek, and Others
“I have said that the sole effect of my somewhat childish experiment – that of looking down within the tarn – had been to deepen the first singular impression. There[…]
Jerry Lewis and the Gender of Work
The gender of work in the work films is a spectrum that includes both the neutered worker of The Bellboy and The Errand Boy and the feminized worker of Cinderfella,[…]
Actors & Personalities · Essays
The Elephant in the Graveyard: The Testament of John Derek
Everywhere she was, there was Eden. – Mark Twain * * * So this is what it’s like on the other side. Not exactly how I pictured it. Nothing like[…]
Activist & Political · Biopic · Essays
The Cowboy’s Final Act: On Clint Eastwood, Trump, American Sniper, and Sully
These films aren’t merely exercises in cinematic glorification – like Clint Eastwood’s speech, they are a part of a uniquely American myth-making process, posing straw-man moral tests for their protagonists[…]
Activist & Political · Crime · Essays
Lords of Nothing: Hell or High Water (2016)
“Hey, buddy. We’re exactly the same. What’s happening to these people happened to my ancestors, and it happened to your ancestors.” – Alberto to Marcus in Hell or High Water,[…]
Essays · Horror · Religion & Spirituality
You Say You Want a Revolution? Regan’s Head and The Exorcist
If the evil spirit is “seen,” that is, reflected . . . he is overcome. – Marie-Louise von Franz Unmask Satan, and you vanquish him. – St. Augustine * *[…]
Mapping the (Cinematic) Genome: Hiroshima, Mon Amour (1959); Peppermint Candy (1999); Black Coal, Thin Ice (2014)
Our cinematic genome, meanwhile, is becoming – if not always more clearly defined – certainly more rich and diverse and, at the same time, more universal than ever. * *[…]
The Propagation of Empathy, the Absence of Bathos: On Alexander Payne’s Sideways (2004)
Regret is perhaps Payne’s greatest theme. The continual human dramedy, the elegiac comedy, a country full of people with limited potential raised to think everyone is special, confined souls struggling[…]
The Trouble with Scottie (on Vertigo)
I have yet to encounter anybody who feels my fierce outrage at Scottie’s unfairness toward the necklace. That object is all-important, not because it is the vital clue to the Madeleine-is-Judy[…]
Any Husband of Yours: Spellbound and 13 Minutes
Dreams and Pistol Shots * * * From Leslie Halliwell to David Thomson, capsule reviews of Hitchcock’s Spellbound have made sure we know that the psychiatry on offer is pure[…]
Activist & Political · Essays · SF & Fantasy
Blood Will Tell: The Purge: Election Year (2016)
To be a popular film, which is the intent of the Purge series, is to play into what an audience loves; and in the case of something it is not[…]
Drama · Essays · Writers & Critics
Innocence on the Open Market: Cormac McCarthy, The Counselor, and Artistic Agency
Today (July 20) is Cormac McCarthy’s birthday. He’s 83. We send birthday wishes his way by reposting Sophia Nguyen’s persuasive discussion of McCarthy and the book/film of The Counselor, which[…]
Activist & Political · Drama · Essays · War · Writers & Critics
The Deer Hunter Debate: Artistic License and Vietnam War Remembrance
The response to The Deer Hunter amounted to a serious public debate over the Vietnam War that extended beyond film critics to engage a wide range of viewers. It wasn’t[…]
Directors · Essays · Genres · Horror
Sexual Violence and Female Experience in Roman Polanski’s Apartment Trilogy: Repulsion, Rosemary’s Baby, The Tenant
In the first two films of the Apartment Trilogy, gender, subjectivity, and horror are intertwined: being embodied and socially constructed as a woman is the horror, and the audience is[…]
Under the Sign of 39: The Case of the Curious Coincidence from Hitchcock to Antonioni and Beyond
In movieland, there is also the kind of coincidence where someone indeed has planned it, someone acting from behind the scene, manipulating appearances. In this case, a coincidence is a[…]
“I Used My Imagination”: Old Genres, New Jerusalems
What I find in Wim Wenders I find in William Blake (and all interesting artists): a desire for a better world that does not underestimate the difficulties of achieving it[…]
Why Didn’t You Tell Me That I Love You? Asexuality, Polymorphous Perversity, and the Liberation of the Cinematic Clown
The happy ending that sees the clown coupled with the girl never satisfies precisely because we know the clown’s appropriate place is one of “in-between-ness,” a position that stands in[…]
Some Like It Not: The Key to Successful Relationships in the Films of Billy Wilder
Within his mise-en-scène and competing thematic fronts, Wilder makes a case that true partnership – born of respect, admiration, and genuine affection – finds actual sex dispensable or, simply, fleeting.[…]
Essays · Experimental & Underground · SF & Fantasy · Writers & Critics
Time and the Image: The Piano Tuner of Earthquakes
These things never happen but are always. – Sallust The dead love the most, love the longest. – Malvina von Stille * * * INTRODUCTORY Centuries of thought and imagination,[…]
