The restrained tone, middle American location, and half-century historical sweep of The Irishman depart from Scorsese’s gangland epics Goodfellas and Casino. It isn’t a political treatise, but it does tie[…]
Activist & Political · African American · Drama
Like Dassin’s 1950 noir classic Night and the City, Uptight is shot predominantly at night, with oddly titled camera angles and bright, glaring colours, ironically organised around the shades of[…]
SF & Fantasy · Women in Film · Writers & Critics
A Boy and His Dog’s promotional advertisements also reveal how the novella was adapted and modified to suit the tastes of the American popular film-going public. The movie’s promo posters[…]
Drama · Horror · Women in Film
The movie is, literally, a projection of our mental landscape. We passively sit back (like Jeffries in Rear Window) and the world appears as we live and make it. We[…]
Documentaries · Historical & Epic · War
The pair have little in common, but each goes against the grain of how this form is typically used, sacrificing everything else in the pursuit of an important story that[…]
From these socio-erotic negotiations sprung cinema’s first expressly lesbian-themed feature, Mädchen in Uniform (1931), not simply a tale of forbidden love but a historically particular challenge to Weimar Germany’s separation[…]
Directors · Indigenous · Interviews · Women in Film
It’s the kind of film I wanted to make where you see social implications growing from a personal story. What made it very hard was the sadness of it and[…]
#MeToo · Activist & Political · Drama · Women in Film · Workplace
#MeToo has been an unequivocal success in terms of calling out the rampant sexual abuse that exists in the veins of Hollywood, but has been less successful in allowing room[…]
Directors · Drama · Interviews
“I try very hard to give the characters in my films a sense of humanity. I want this feeling for the audience that these characters exist outside of the frame.[…]
Drama · Interior Monologue · Letters
(interpolating material by Paul Simon, John Sebastian, Johnny Jewel, Johnny Mercer, Emily Jane Meluch, Conor Oberst, Jaret Ray Reddick, and Eddie Argos) * * * The weight of the world[…]
African American · Horror · Race
As it stands, Suture’s bold attempt at cultural effacement never drives home any type of allegory, just as Clay is only a passenger in a narrative with barely any causal[…]
Essays · Thrillers & Action · Urban Conflict · Women in Film
This essay is a revised version of a book chapter that originally appeared in the anthology Clint Eastwood’s Cinema of Trauma: Essays on PTSD in the Director’s Films, eds., Charles[…]
Absurdism · Comedy · Drama · Eastern European · Horror
The Cremator, only Juraj Herz’s second film, was adapted from a novel by Ladislav Fuks. It was well received, won a few awards, and was promptly banned for two decades[…]
Horror · Mystery · SF & Fantasy · Westerns
The Thing and The Hateful Eight’s analogous narratives speak to broader philosophical notions of selfhood and knowledge of others. Their thematic undercurrents explore the forever-complicated terrain of what it means[…]
Drama · Historical & Epic · Women in Film
Where Siegel goes sleazy and conflictual, Coppola goes subtle and sympathetic. Her direction (which won her the Best Director award at the Cannes Film Festival, making her only the second[…]
Activist & Political · Disease and Epidemics · Economy · Horror · Pandemic
What the decade’s scariest film can tell us about pandemics, poverty, and the web of financial risk that ensnares us all * * * It comes for you when you’re[…]
Drama · Women in Film · Workplace
The dull humdrum of the office takes on a kind of bizarre poetry: you find yourself humming along to the copier, placing kitchen objects in patterned formations, making slightly stranger,[…]
Designers · Horror · Interviews
“We need guilt, Doctor. And shame.” * * * Luca Guadagnino follows up 2016’s A Bigger Splash and 2017’s Call Me by Your Name with 2018’s Suspiria, a remake of[…]
