In the late 1970s, an associate professor in the Philosophy department at Johns Hopkins (thesis title: "The Nature of the Natural Numbers") began publishing essays on Hollywood movies. George M. Wilson wasn't the first person to undergo this shift in specialism. At the start of the decade, Stanley Cavell had published The World Viewed, a series of "reflections on the ontology of film." But Cavell had always been concerned with how works of art enable us to think through philosophical themes such as knowledge and meaning, and he held a chair, at Harvard, in Aesthetics. Wilson differed in that he brought a range of analytic gifts to an ongoing revolution: the close reading of American cinema, conceived as part of the "auteur" policy of Truffaut and other writers at Cahiers du cinéma in the 1950s, and concertedly developed in the following decades by critics in England such as V. F.
- 12/11/2017
- MUBI
“Hitchcock’s masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us”. That was critic Robin Wood’s astute 1968 evaluation ten years after Alfred Hitchcock’s final collaboration with James Stewart had been released to indifferent box office and unappreciative reviews. Tragic, obsessive and backed by an unforgettable Bernard Herrmann score, it’s one of the director’s most mesmerizing accomplishments. It knocked Citizen Kane off its nearly 50 year perch as the #1 picture of all time in the 2012 Sight and Sound decade poll of critics and filmmakers.
- 10/18/2017
- by TFH Team
- Trailers from Hell
It’s finally here in all its glory, the Howard Hawks movie nobody loves. The epitome of clueless ’60s filmmaking by an auteur who left his thinking cap back with Bogie and Bacall, this show is a PC quagmire lacking the usual compensation of exploitative thrills. But hey, it has a hypnotic appeal all its own: we’ll not abandon any movie where Teri Garr dances.
Red Line 7000
Blu-ray
Kl Studio Classics
1965 / Color / 1:85 widescreen / 110 min. / Street Date September 19, 2017 / available through Kino Lorber / 29.95
Starring: James Caan, Laura Devon, Gail Hire, Charlene Holt, John Robert Crawford, Marianna Hill, James (Skip) Ward, Norman Alden, George Takei, Diane Strom, Anthony Rogers, Robert Donner, Teri Garr.
Cinematography: Milton Krasner
Film Editors: Bill Brame, Stuart Gilmore
Original Music: Nelson Riddle
Written by George Kirgo story by Howard Hawks
Produced and Directed by Howard Hawks
Critics have been raking Howard Hawks’ stock car racing epic...
Red Line 7000
Blu-ray
Kl Studio Classics
1965 / Color / 1:85 widescreen / 110 min. / Street Date September 19, 2017 / available through Kino Lorber / 29.95
Starring: James Caan, Laura Devon, Gail Hire, Charlene Holt, John Robert Crawford, Marianna Hill, James (Skip) Ward, Norman Alden, George Takei, Diane Strom, Anthony Rogers, Robert Donner, Teri Garr.
Cinematography: Milton Krasner
Film Editors: Bill Brame, Stuart Gilmore
Original Music: Nelson Riddle
Written by George Kirgo story by Howard Hawks
Produced and Directed by Howard Hawks
Critics have been raking Howard Hawks’ stock car racing epic...
- 8/29/2017
- by Glenn Erickson
- Trailers from Hell
Is it a modern classic? I think so. Lawrence Kasdan’s best movie embraces characters often lampooned or dismissed, or stereotyped as kooks — introverts, extroverts, people trying to make personal connections and those trying to avoid them. William Hurt finds his best role and Geena Davis won an Oscar for hers; thirty years later the entire cast feel like beloved friends.
The Accidental Tourist
Blu-ray
The Warner Archive Collection
1988 / Color / 2:35 widescreen / 121 min. / Street Date May 8, 2017 / Available from the The Warner Archive Collection Movies Store 29.95
Starring: William Hurt, Kathleen Turner, Geena Davis, Amy Wright, David Ogden Stiers, Ed Begley Jr., Bill Pullman.
Cinematography: John Bailey
Production Designer: Bo Welch
Film Editor: Carol Littleton
Original Music: John Williams
Written by Frank Galatiand Lawrence Kasdan
from the book by Anne Tyler
Produced by Phyllis Carlyle, Michael Grillo, Lawrence Kasdan, John Malkovich, Charles Okun
Directed by Lawrence Kasdan
Some of my favorite movies...
The Accidental Tourist
Blu-ray
The Warner Archive Collection
1988 / Color / 2:35 widescreen / 121 min. / Street Date May 8, 2017 / Available from the The Warner Archive Collection Movies Store 29.95
Starring: William Hurt, Kathleen Turner, Geena Davis, Amy Wright, David Ogden Stiers, Ed Begley Jr., Bill Pullman.
Cinematography: John Bailey
Production Designer: Bo Welch
Film Editor: Carol Littleton
Original Music: John Williams
Written by Frank Galatiand Lawrence Kasdan
from the book by Anne Tyler
Produced by Phyllis Carlyle, Michael Grillo, Lawrence Kasdan, John Malkovich, Charles Okun
Directed by Lawrence Kasdan
Some of my favorite movies...
- 5/2/2017
- by Glenn Erickson
- Trailers from Hell
The Barefoot Contessa
Blu-ray
Twilight Time
1954 / Color / 1:78 widescreen / 130 min. / Street Date December 13, 2016 / Available from the Twilight Time Movies Store 29.95
Starring: Humphrey Bogart, Ava Gardner, Edmond O’Brien, Marius Goring, Rossano Brazzi, Valentina Cortese, Elizabeth Sellars, Warren Stevens, Enzo Staiola, Mari Aldon, Bessie Love.
Cinematography: Jack Cardiff
Original Music: Mario Nascimbene
Written, Produced and Directed by Joseph L. Mankiewicz
As a teenager, many of my first and strongest movie impressions came not from the movies, but from certain critics. I memorized Robin Wood’s analysis before getting a look at Hitchcock’s Psycho. Raymond Durgnat introduced me to Georges Franju and Luis Buñuel, and I first learned to appreciate a number of great movies including The Barefoot Contessa from Richard Corliss, a terrific critic who championed writers over director-auteurs.
The Barefoot Contessa is a classically structured story, in that it could work as a novel; it’s told from several points of view.
Blu-ray
Twilight Time
1954 / Color / 1:78 widescreen / 130 min. / Street Date December 13, 2016 / Available from the Twilight Time Movies Store 29.95
Starring: Humphrey Bogart, Ava Gardner, Edmond O’Brien, Marius Goring, Rossano Brazzi, Valentina Cortese, Elizabeth Sellars, Warren Stevens, Enzo Staiola, Mari Aldon, Bessie Love.
Cinematography: Jack Cardiff
Original Music: Mario Nascimbene
Written, Produced and Directed by Joseph L. Mankiewicz
As a teenager, many of my first and strongest movie impressions came not from the movies, but from certain critics. I memorized Robin Wood’s analysis before getting a look at Hitchcock’s Psycho. Raymond Durgnat introduced me to Georges Franju and Luis Buñuel, and I first learned to appreciate a number of great movies including The Barefoot Contessa from Richard Corliss, a terrific critic who championed writers over director-auteurs.
The Barefoot Contessa is a classically structured story, in that it could work as a novel; it’s told from several points of view.
- 1/6/2017
- by Glenn Erickson
- Trailers from Hell
The restoration of a newly rediscovered director’s cut of the 1931 The Front Page prompts this two-feature comedy disc — Lewis Milestone’s early talkie plus the sublime Howard Hawks remake, which plays a major gender switch on the main characters of Hecht & MacArthur’s original play.
His Girl Friday / The Front Page
Blu-ray
The Criterion Collection 849
Available through The Criterion Collection / Street Date January 10, 2017 / 39.96
His Girl Friday:
1940 / B&W /1:37 flat Academy / 92 min.
Starring Cary Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart, Porter Hall, Ernest Truex, Cliff Edwards, Clarence Kolb, Roscoe Karns, Frank Jenks, Regis Toomey, Abner Biberman, Frank Orth, John Qualen, Helen Mack, Alma Kruger, Billy Gilbert, Marion Martin.
Cinematography Joseph Walker
Film Editor Gene Havelick
Original Music Sidney Cutner, Felix Mills
Written by Charles Lederer from the play The Front Page by Ben Hecht and Charles MacArthur
Produced and Directed by Howard Hawks
The Front Page:...
His Girl Friday / The Front Page
Blu-ray
The Criterion Collection 849
Available through The Criterion Collection / Street Date January 10, 2017 / 39.96
His Girl Friday:
1940 / B&W /1:37 flat Academy / 92 min.
Starring Cary Grant, Rosalind Russell, Ralph Bellamy, Gene Lockhart, Porter Hall, Ernest Truex, Cliff Edwards, Clarence Kolb, Roscoe Karns, Frank Jenks, Regis Toomey, Abner Biberman, Frank Orth, John Qualen, Helen Mack, Alma Kruger, Billy Gilbert, Marion Martin.
Cinematography Joseph Walker
Film Editor Gene Havelick
Original Music Sidney Cutner, Felix Mills
Written by Charles Lederer from the play The Front Page by Ben Hecht and Charles MacArthur
Produced and Directed by Howard Hawks
The Front Page:...
- 1/3/2017
- by Glenn Erickson
- Trailers from Hell
While Db Woodside stars as Amenadiel on Fox's Lucifer, playing the King of Hell's big brother is not the 24 vet's first supernatural gig. In 2002-03, Woodside recurred as Sunnydale High School Principal Robin Wood, in the seventh and final season of the Buffy the Vampire Slayer TV show.While doing press for Lucifer, the talented actor recalled his days on the Joss Whedon series and revealed why his character survived Sunnydale. Nicknamed "Principal McHottie" by the fandom (before Grey's Anatomy coined "McDreamy" et al) -- Woodside's character was one of the few popular additions to Buffy's final chapter. Find out what he has to say about working with Sarah Michelle Gellar and James Marsters, as well as what he thinks...
- 12/21/2016
- by TVSeriesFinale.com
- TVSeriesFinale.com
It’s the most wonderful time of the year for film fans, with some of the best films of the year in theaters and lots of elaborate and thoroughly-researched books to read. This rundown has real variety, with new and recent texts covering cinema history, TV greats, and, of course, Star Wars. Note that one of this year’s finest books, The Oliver Stone Experience (Abrams Books), was covered by The Film Stage in September via an interview with author Matt Zoller Seitz. Make sure to check out Experience, and see below for another fine selection from the prolific Seitz.
Star Wars Year by Year: A Visual History, Updated Edition by Daniel Wallace (Dk Publishing)
It’s a fantastic idea: a book that offers a timeline not of the Star Wars story, but of the Star Wars phenomenon. This newly updated edition of the 2010 release now includes recent works like...
Star Wars Year by Year: A Visual History, Updated Edition by Daniel Wallace (Dk Publishing)
It’s a fantastic idea: a book that offers a timeline not of the Star Wars story, but of the Star Wars phenomenon. This newly updated edition of the 2010 release now includes recent works like...
- 12/1/2016
- by Christopher Schobert
- The Film Stage
An exercise in dizzy disorientation, this Cornell Woolrich crazy-house noir pulls the rug out from under us at least three times. You want delirium, you got it -- the secret words for today are "Obsessive" and "Perverse." Innocent Robert Cummings is no match for sicko psychos Peter Lorre and Steve Cochran. The Chase Blu-ray Kino Classics 1946 / B&W / 1:37 flat Academy / 86 min. / Street Date May 24, 2016 / available through Kino Lorber / 29.95 Starring Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre, Lloyd Corrigan, Jack Holt, Don Wilson, Alexis Minotis, Nina Koschetz, Yolanda Lacca, James Westerfield, Shirley O'Hara. Cinematography Frank F. Planer Film Editor Edward Mann Original Music Michel Michelet Written by Philip Yordan from the book The Black Path of Fear by Cornell Woolrich Produced by Seymour Nebenzal Directed by Arthur D. Ripley
Reviewed by Glenn Erickson
As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were...
Reviewed by Glenn Erickson
As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were...
- 5/7/2016
- by Glenn Erickson
- Trailers from Hell
Watch: Video Essay Explores Wealth In American Film From ‘Modern Times’ to ‘The Wolf of Wall Street’
While I might find arguments about what does and does not constitute an “American” quality in cinema to be a bit tedious, I can’t help but think Drew Morton grasps something within that range in his video essay The Rosebud Syndrome: Wealth in American Film. This adaptation-of-sorts of Robin Wood’s “Ideology, Genre, Auteur” considers the prominence of money, wealthy, and capitalistic attitudes in prominent American films, reaching from Modern Times to The Wolf of Wall Street and covering the 77 years in-between with prominent examples of financial dick-measuring.
This is represented both directly (via clips) and through nifty bits of split-screening, visual layering, and sonic manipulation, though its point is clear enough no matter the technique at hand. Is anything clearer than greed and more direct than excess?
Have a look below:
What’s your favorite movie mentioned?...
This is represented both directly (via clips) and through nifty bits of split-screening, visual layering, and sonic manipulation, though its point is clear enough no matter the technique at hand. Is anything clearer than greed and more direct than excess?
Have a look below:
What’s your favorite movie mentioned?...
- 2/18/2016
- by Nick Newman
- The Film Stage
The Eighth Annual Robert Classic French Film Festival — co-produced by Cinema St. Louis and the Webster University Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. The featured films span the decades from the 1920s through the early 1990s, offering a comprehensive overview of French cinema.
The fest is annually highlighted by significant restorations, and we’re especially pleased to present Jacques Rivette’s long-unavailable epic Out 1: Spectre Additional restoration highlights include Jean-Luc Godard’s A Married Woman and Max Ophüls’ too-little-seen From Mayerling To Sarajevo. Both Ophüls’ film and Louis Malle’s Elevator To The Gallows – with a jazz score by St. Louis-area native Miles Davis — screen from 35mm prints. All films will screen at Webster University’s Moore Auditorium (47- E. Lockwood)
Music fans will further delight in the Rats & People Motion Picture Orchestra’s accompaniment and original score for Carl Th. Dreyer’s...
The fest is annually highlighted by significant restorations, and we’re especially pleased to present Jacques Rivette’s long-unavailable epic Out 1: Spectre Additional restoration highlights include Jean-Luc Godard’s A Married Woman and Max Ophüls’ too-little-seen From Mayerling To Sarajevo. Both Ophüls’ film and Louis Malle’s Elevator To The Gallows – with a jazz score by St. Louis-area native Miles Davis — screen from 35mm prints. All films will screen at Webster University’s Moore Auditorium (47- E. Lockwood)
Music fans will further delight in the Rats & People Motion Picture Orchestra’s accompaniment and original score for Carl Th. Dreyer’s...
- 2/16/2016
- by Tom Stockman
- WeAreMovieGeeks.com
The Conversation is a feature at PopOptiq bringing together Drew Morton and Landon Palmer in a passionate debate about cinema new and old. For their eleventh piece, they discuss Mathieu Kassovitz’s gritty yet sleek portrait of life on the margins of Paris, La haine (1995).
Landon’S Take
There’s a moment within the first act of Mathieu Kassovitz’s La haine (1995) that finds the film’s central trio – Vinz (Vincent Cassel), Hubert (Hubert Koundé), and Saïd (Saïd Taghmaoui), three young male descendants of immigrants living in the housing projects of outer Paris – confronted by a news crew. In the protests and riots following the brutalization of a friend, Abdel Ichaha (inspired by the real-life killing of Makome M’Bowole while in the custody of Parisian police in 1993), the news crew voyeuristically inquires into the opinions of those who very well may be the first group of “locals” their excursion encounters,...
Landon’S Take
There’s a moment within the first act of Mathieu Kassovitz’s La haine (1995) that finds the film’s central trio – Vinz (Vincent Cassel), Hubert (Hubert Koundé), and Saïd (Saïd Taghmaoui), three young male descendants of immigrants living in the housing projects of outer Paris – confronted by a news crew. In the protests and riots following the brutalization of a friend, Abdel Ichaha (inspired by the real-life killing of Makome M’Bowole while in the custody of Parisian police in 1993), the news crew voyeuristically inquires into the opinions of those who very well may be the first group of “locals” their excursion encounters,...
- 11/11/2015
- by Landon Palmer
- SoundOnSight
The Brood
Written and directed by David Cronenberg
Canada, 1979
Inspired by his own unpleasant divorce, and the subsequent liberation of his daughter just before his ex-wife was able to take the girl to a California cult, David Cronenberg’s The Brood is essentially an ugly, highly unorthodox custody battle. As the great Canadian filmmaker famously quipped, “The Brood is my version of Kramer vs. Kramer [also released in 1979], but more realistic.”
The Brood is Cronenberg’s sixth feature, coming just after the seemingly out of place Fast Company (1979)—not so very odd given the director’s love for automobile racing—and just before his more exemplary breakthrough, Scanners (1981). It is consummate Cronenberg, with a heady mixture of clinically twisted science and the deep psychological strain that inevitably mars said science with corporeal disfigurement.
With his wife, Nola (Samantha Eggar), undergoing treatment at a facility known as the Somafree Institute of Psychoplasmics (a Cronenbergian...
Written and directed by David Cronenberg
Canada, 1979
Inspired by his own unpleasant divorce, and the subsequent liberation of his daughter just before his ex-wife was able to take the girl to a California cult, David Cronenberg’s The Brood is essentially an ugly, highly unorthodox custody battle. As the great Canadian filmmaker famously quipped, “The Brood is my version of Kramer vs. Kramer [also released in 1979], but more realistic.”
The Brood is Cronenberg’s sixth feature, coming just after the seemingly out of place Fast Company (1979)—not so very odd given the director’s love for automobile racing—and just before his more exemplary breakthrough, Scanners (1981). It is consummate Cronenberg, with a heady mixture of clinically twisted science and the deep psychological strain that inevitably mars said science with corporeal disfigurement.
With his wife, Nola (Samantha Eggar), undergoing treatment at a facility known as the Somafree Institute of Psychoplasmics (a Cronenbergian...
- 10/19/2015
- by Jeremy Carr
- SoundOnSight
In today's roundup: Dan Callahan on Marcel L’Herbier's L’Argent, Jim Knipfel on Boris Ingster's Stranger on the 3rd Floor, Jonathan Rosenbaum on Kira Muratova, Omar Ahmed on Robin Wood's book about Satyajit Ray's Apu Trilogy, a discussion about Straight Outta Compton, Dennis Drabelle on Douglas Keesey's new book about Brian De Palma, Robert C. Cumbow on David Lynch's Wild at Heart, a celebration of Maureen O’Hara at 95, David Cairns on Richard Lester, interviews with John Waters, Hubert Sauper and Nadav Lapid—and more. » - David Hudson...
- 8/17/2015
- Fandor: Keyframe
In today's roundup: Dan Callahan on Marcel L’Herbier's L’Argent, Jim Knipfel on Boris Ingster's Stranger on the 3rd Floor, Jonathan Rosenbaum on Kira Muratova, Omar Ahmed on Robin Wood's book about Satyajit Ray's Apu Trilogy, a discussion about Straight Outta Compton, Dennis Drabelle on Douglas Keesey's new book about Brian De Palma, Robert C. Cumbow on David Lynch's Wild at Heart, a celebration of Maureen O’Hara at 95, David Cairns on Richard Lester, interviews with John Waters, Hubert Sauper and Nadav Lapid—and more. » - David Hudson...
- 8/17/2015
- Keyframe
Anthony Mann
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,...
As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.
Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,...
- 1/26/2015
- by Jeremy Carr
- MUBI
Snake Eyes
Written by David Koepp
Directed by Brian De Palma
USA/Canada, 1998
Snake Eyes is not one of Brian De Palma’s bad films – and yes, he has a few; the man has been making films since the 1960s, of course he’s had some misfires. It pains to read complaints about how ill-conceived Snake Eyes is, though. One can take little issue with someone claiming to dislike the film based on personal preference or a disdain for the subject matter, but it is unfair to base claims around how ineptly artificial and forced the whole thing is, as if punishing the film for failing to attain to some sort of authenticity. It’s a b-movie directed by Brian De Palma, starring a wildly over-the-top Nicolas Cage, and featuring not one, but two mind-blowing sequences. At what point does it need to be realistic and sincere? It’s a...
Written by David Koepp
Directed by Brian De Palma
USA/Canada, 1998
Snake Eyes is not one of Brian De Palma’s bad films – and yes, he has a few; the man has been making films since the 1960s, of course he’s had some misfires. It pains to read complaints about how ill-conceived Snake Eyes is, though. One can take little issue with someone claiming to dislike the film based on personal preference or a disdain for the subject matter, but it is unfair to base claims around how ineptly artificial and forced the whole thing is, as if punishing the film for failing to attain to some sort of authenticity. It’s a b-movie directed by Brian De Palma, starring a wildly over-the-top Nicolas Cage, and featuring not one, but two mind-blowing sequences. At what point does it need to be realistic and sincere? It’s a...
- 5/12/2014
- by Griffin Bell
- SoundOnSight
Above: the new poster for Orson Welles' newly restored Othello, screening at the Film Forum. Occasioned by the restoration, Richard Brody writes on the film for The Front Row:
"Welles’s fundamental and lifelong story is that of a big man who gets his comeuppance. He himself was a big man who, in repeatedly filming his own downfall, displayed a kind of emotional masochism, a delight in his own humiliation, that he veritably trumpets in Othello. He films the entire play as a flashback, starting the movie with his own face in closeup: Othello, dead and being borne off for burial. The shock of self-destruction is matched only by the howl of self-pity, albeit a well-earned one—for Welles himself, soon after the world-historical artistic eruption of Citizen Kane, found his own strong and stubborn temperament fiercely countered by the plotters and the potentates of his field."
More on...
"Welles’s fundamental and lifelong story is that of a big man who gets his comeuppance. He himself was a big man who, in repeatedly filming his own downfall, displayed a kind of emotional masochism, a delight in his own humiliation, that he veritably trumpets in Othello. He films the entire play as a flashback, starting the movie with his own face in closeup: Othello, dead and being borne off for burial. The shock of self-destruction is matched only by the howl of self-pity, albeit a well-earned one—for Welles himself, soon after the world-historical artistic eruption of Citizen Kane, found his own strong and stubborn temperament fiercely countered by the plotters and the potentates of his field."
More on...
- 4/30/2014
- by Adam Cook
- MUBI
Like many film enthusiasts, I love the Criterion Collection. I scoff at some of their selections—I won’t name names—but for the most part, I anticipate new releases with excitement and glee (June’s slate is particularly amazing). Of course, due to lack of finances, I can’t buy as many as I would like – though someday, I will own the entire collection, despite the current economy offering little to no financial opportunity for an individual with my interests and skill set, but I digress.
I do, however, have a minor beef with Criterion. While admiring most of their titles, I’d love to see more emphasis on genre stuff—especially horror. And don’t get me wrong, Criterion boasts some excellent titles—Carnival of Lost Souls, Sisters, The Vanishing, Godzilla, The Devil’s Backbone, Repulsion, plus the highly anticipated release of Scanners being not far off—but they need more.
I do, however, have a minor beef with Criterion. While admiring most of their titles, I’d love to see more emphasis on genre stuff—especially horror. And don’t get me wrong, Criterion boasts some excellent titles—Carnival of Lost Souls, Sisters, The Vanishing, Godzilla, The Devil’s Backbone, Repulsion, plus the highly anticipated release of Scanners being not far off—but they need more.
- 4/14/2014
- by Griffin Bell
- SoundOnSight
Buffy the Vampire Slayer: Season 9 #1-25 (2011-2013)
Written by Joss Whedon (#1), Andrew Chambliss (#2-13, 16-25), Scott Allie (#8-10), Jane Espenson (#14), Drew Z. Greenberg (#15)
Pencils by Georges Jeanty (#1-4, 6-7, 11-13, 16-19, 20-25), Karl Moline (#5, 14-15, 20), Cliff Richards (#8-10), Ben Dewey (#15)
Coloured by Michelle Madsen (#1-25)
Inking by Dexter Vines (#1-4, 16-19, 21-24), Andy Owens (#5, 8-10, 14-15, 20), Karl Story (#6-7, 25), Nathan Massengill (#11-13)
Executive Produced by Joss Whedon
Published by Dark Horse Comics
The Buffyverse was in dire need of rescue in the aftermath of Season 8. The infamous Twilight story arc that made up the last one-fourth of the series stripped a struggling comic series of the respect it had slowly been earning. When you declare something “canon”, a whole lot of people start paying a lot of attention, and there was a lot of pressure on Buffy Season 8 to see if it could continue the series narrative in a...
Written by Joss Whedon (#1), Andrew Chambliss (#2-13, 16-25), Scott Allie (#8-10), Jane Espenson (#14), Drew Z. Greenberg (#15)
Pencils by Georges Jeanty (#1-4, 6-7, 11-13, 16-19, 20-25), Karl Moline (#5, 14-15, 20), Cliff Richards (#8-10), Ben Dewey (#15)
Coloured by Michelle Madsen (#1-25)
Inking by Dexter Vines (#1-4, 16-19, 21-24), Andy Owens (#5, 8-10, 14-15, 20), Karl Story (#6-7, 25), Nathan Massengill (#11-13)
Executive Produced by Joss Whedon
Published by Dark Horse Comics
The Buffyverse was in dire need of rescue in the aftermath of Season 8. The infamous Twilight story arc that made up the last one-fourth of the series stripped a struggling comic series of the respect it had slowly been earning. When you declare something “canon”, a whole lot of people start paying a lot of attention, and there was a lot of pressure on Buffy Season 8 to see if it could continue the series narrative in a...
- 3/22/2014
- by Trevor Dobbin
- SoundOnSight
It's the dog days of winter, a time when the temperature barely crests above the single digits and all hope seems to have been frozen, like the pipes running into your bathroom. So, it seems like a good time of year to unleash a fuzzy, dudes-on-the-town romantic comedy exercise, full of R-rated ribbing and ribald sight gags. Wouldn't you say?
Well, that's what you're going to get with "That Awkward Moment." The film, written and directed by Tom Gormican, follows three dudes who are also BFFs (played by Sundance sensation Miles Teller, former Disney heartthrob Zac Efron, and serious contender Michael B. Jordan). The trio gets really close after Jordan's wife leaves him (for her lawyer, who is also overseeing the divorce), but also causes them to conceal parts of their lives from each other. This leads to hilariously catastrophic consequences. Or something. There are also a few women in...
Well, that's what you're going to get with "That Awkward Moment." The film, written and directed by Tom Gormican, follows three dudes who are also BFFs (played by Sundance sensation Miles Teller, former Disney heartthrob Zac Efron, and serious contender Michael B. Jordan). The trio gets really close after Jordan's wife leaves him (for her lawyer, who is also overseeing the divorce), but also causes them to conceal parts of their lives from each other. This leads to hilariously catastrophic consequences. Or something. There are also a few women in...
- 1/30/2014
- by Drew Taylor
- Moviefone
Femme Fatales Week! begins at Trailers from Hell, with director Dan Ireland introducing "Vertigo," Alfred Hitchcock's masterpiece and last year's Sight & Sound top-ranked film of all time, starring James Stewart and Kim Novak. Stewart was born on May 20, 1908. "Hitchcock's masterpiece to date and one of the four or five most profound and beautiful films the cinema has yet given us". That was critic Robin Wood's astute 1968 evaluation ten years after Alfred Hitchcock's final collaboration with James Stewart had been released to indifferent box office and unappreciative reviews. Tragic, obsessive and backed by an unforgettable Bernard Herrmann score, it's one of the director's most mesmerizing accomplishments. It knocked Citizen Kane off its nearly 50 year perch as the #1 picture of all time in the 2012 Sight and Sound decade poll of critics and filmmakers.
- 5/20/2013
- by Trailers From Hell
- Thompson on Hollywood
Haptic visuality is a term coined by Canadian media theorist, Laura U. Marks. Taking the idea of haptic perception, the process of recognizing objects through touch, Marks integrates the role of eye-sight as part of a greater sensual experience. She says:
Haptic images can give the impression of seeing for the first time, gradually discovering what is in the image rather than coming to the image already knowing what it is. Several such works represent the point of view of a disoriented traveler unsure how to read the world in which he finds himself. (Marks 178)
The Haptic Image is often grainy and distorted, confusing our ability to perceive. It invokes a process that suggests sensuality by triggering memories of smell, touch and taste. It is not about penetrating or relating to an image, focused instead on its surface values. Marks often evokes the haptic image in relation to video art,...
Haptic images can give the impression of seeing for the first time, gradually discovering what is in the image rather than coming to the image already knowing what it is. Several such works represent the point of view of a disoriented traveler unsure how to read the world in which he finds himself. (Marks 178)
The Haptic Image is often grainy and distorted, confusing our ability to perceive. It invokes a process that suggests sensuality by triggering memories of smell, touch and taste. It is not about penetrating or relating to an image, focused instead on its surface values. Marks often evokes the haptic image in relation to video art,...
- 3/19/2013
- by Justine
- SoundOnSight
Tags: Emily Owens M.D.Kelly McCrearyIMDb
A warning for all you lesbians: this episode included too little of Tyra, and she appeared just as sassy-and-great-friend-to-Emily instead of looking-for-some-ass lesbian Tyra, and there was also no Hot Molly, or anything else overtly gay. But wait, before you go! Another truth: I still really, really loved this episode. I love each episode of this show more and more, which results in me feeling angrier and angrier about the network’s decision.
And even though there weren’t overtly gay things, there was further character development of Bandari (rejoice!), and a wonderful, complex storyline around fandom. Count me all the way in.
We begin with Emily lamenting that her life has become stuck in a dull rut, all too akin (again) to her high school days: she has the crush, the nemesis, the mean teacher. Except in high school she probably wasn...
A warning for all you lesbians: this episode included too little of Tyra, and she appeared just as sassy-and-great-friend-to-Emily instead of looking-for-some-ass lesbian Tyra, and there was also no Hot Molly, or anything else overtly gay. But wait, before you go! Another truth: I still really, really loved this episode. I love each episode of this show more and more, which results in me feeling angrier and angrier about the network’s decision.
And even though there weren’t overtly gay things, there was further character development of Bandari (rejoice!), and a wonderful, complex storyline around fandom. Count me all the way in.
We begin with Emily lamenting that her life has become stuck in a dull rut, all too akin (again) to her high school days: she has the crush, the nemesis, the mean teacher. Except in high school she probably wasn...
- 1/9/2013
- by daffodilly
- AfterEllen.com
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
- 11/27/2012
- by Daniel Kasman
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."
–Manny Farber, 1968
Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,...
<- the previous analysis | movement index | the next analysis ->
"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."
–Manny Farber, 1968
Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,...
- 11/26/2012
- by Adrian Martin
- MUBI
New York — For his first professional acting job, a 22-year-old Anthony Hopkins took a train from South Wales to Manchester. With time to kill on a rainy day, he dropped off his bags and headed to the movies, where a long queue wound outside the cinema.
"It was packed," Hopkins recalls. "I sat down and I didn't know what the hell I was in for. I had heard stories about it. When it got to the shower scene, I don't think I've ever been so scared in my life."
The movie was, of course, Alfred Hitchcock's "Psycho," a film that 52 years after its shocking premiere still hasn't released audiences from its subversive thrall. The film, which Hitchcock called "a fun picture," was revolutionary in its violence, its sexiness, its sympathy to the perspective of the criminal mind – and, perhaps above all, its technique.
"What if someone really good made a horror picture?...
"It was packed," Hopkins recalls. "I sat down and I didn't know what the hell I was in for. I had heard stories about it. When it got to the shower scene, I don't think I've ever been so scared in my life."
The movie was, of course, Alfred Hitchcock's "Psycho," a film that 52 years after its shocking premiere still hasn't released audiences from its subversive thrall. The film, which Hitchcock called "a fun picture," was revolutionary in its violence, its sexiness, its sympathy to the perspective of the criminal mind – and, perhaps above all, its technique.
"What if someone really good made a horror picture?...
- 11/23/2012
- by AP
- Huffington Post
Second #7144, 119:04
[Final post. Thank you to Scott Macaulay for taking a chance with this.]
The blue curtain, creating the conditions for its own strange, vertical, blue-noise static.
Remainders:
45,000 = total words in project
2 = frames that feature Dorothy, Jeffrey, and Sandy together
3 = frames including Aunt Barbara
17 = frames in which no human being appears
20 = frames featuring Jeffrey and Dorothy
23 = frames featuring Jeffrey and Sandy
Robin Wood, from his classic 1979 essay “An Introduction to the American Horror Film”:
Some version of the Other [include, simply] other people. It is logical and probable that under capitalism all human relations will be characterized by power, dominance, possessiveness, manipulation: the extension into relationships of the property principle.
Wood was something of an unreconstructed Marxist, criticized even in his heyday for being overly deterministic, but he was a great populist, unafraid to write like an academic when those were the tools he needed to unpack a film and, alternately, to write like a confessionalist when that suited his purposes. Most of all,...
[Final post. Thank you to Scott Macaulay for taking a chance with this.]
The blue curtain, creating the conditions for its own strange, vertical, blue-noise static.
Remainders:
45,000 = total words in project
2 = frames that feature Dorothy, Jeffrey, and Sandy together
3 = frames including Aunt Barbara
17 = frames in which no human being appears
20 = frames featuring Jeffrey and Dorothy
23 = frames featuring Jeffrey and Sandy
Robin Wood, from his classic 1979 essay “An Introduction to the American Horror Film”:
Some version of the Other [include, simply] other people. It is logical and probable that under capitalism all human relations will be characterized by power, dominance, possessiveness, manipulation: the extension into relationships of the property principle.
Wood was something of an unreconstructed Marxist, criticized even in his heyday for being overly deterministic, but he was a great populist, unafraid to write like an academic when those were the tools he needed to unpack a film and, alternately, to write like a confessionalist when that suited his purposes. Most of all,...
- 8/17/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
Whenever movies get ranked and organized into lists (the five greatest screwball comedies! the 10 best films of 2007! the 100 greatest movies of all time!), those lists, almost by design, are meant to be fought with, argued over, and competed with. In the Internet era, you don’t even have to argue in a vacuum — you just concoct, and publish, your own list. The whole noisy debate that gets triggered by movie lists is a big part of why they’re fun, and maybe why they matter the little bit that they do. It’s also why they tend to evaporate from memory.
- 8/8/2012
- by Owen Gleiberman
- EW - Inside Movies
Sight & Sound magazine has announced the results of its latest critics' poll to decide the greatest film of all time. Philip French charts the history of the poll
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
In the early 1950s, the British Film Institute was transformed by Denis Forman and Gavin Lambert. Forman was appointed director of the BFI in 1948, and one year later, he invited Lambert to edit what Lambert recalled as "the institute's terminally boring magazine Sight & Sound and bring it back to life". Both left the institute in 1955, Forman to help create Granada TV, Lambert to become a Hollywood screenwriter and novelist, and by then the National Film Theatre had been established on the South Bank, and Sight & Sound had become one of the world's pre-eminent film journals.
Among Lambert's innovations was a worldwide poll of critics to vote each decade on the top 10 films of all time, an immense undertaking that utilises the resources...
- 8/6/2012
- by Philip French
- The Guardian - Film News
In a reprint of his 1958 review of Ingmar Bergman's Summer with Monika, Jean-Luc Godard wrote of the scene captured above (and previewed to the right) saying, "One must see Summer with Monika, if only for the extraordinary minutes when Harriet Andersson, about to sleep with a guy she has left once before, stares fixedly into the camera, her laughing eyes clouded with distress, and calls on the viewer to witness her self-loathing at involuntarily choosing hell over heaven. It is the saddest shot in the history of cinema." The full review is included in the 28-page booklet accompanying Criterion's new Blu-ray release of the film along with an essay by Laura Hubner (read it in full right here) whose interpretation of the shot reads as follows: The static shot of Monika's face is scandalously close up, and she looks steadfastly at us, breaking the cinematic illusion, as the screen darkens around her.
- 6/1/2012
- by Brad Brevet
- Rope of Silicon
It’s been a long road for Buffy and the Scoobies. Creator Joss Whedon isn’t known for pulling punches. The titular heroine has faced all manner of trials, tribulations, and horrors. She’s lost friends, lovers, even herself in the long fought battle against the forces of evil. But with this week’s issue of Buffy Season 9, Whedon has a new obstacle for the Slayer.
Buffy is getting an abortion. Yep.
Last month’s issue ended with the massive revelation that Buffy had a little slayer in the oven. In this month’s issue Buffy is seeking advice from the one person who know’s all about being the child of a Slayer: Robin Wood.
Shelf Life sat down with creator Joss Whedon to talk about the controversial turn in the series. Whedon stated that he felt very strongly about teen pregnancy, or unprepared pregnancy in general. As far as he is concerned,...
Buffy is getting an abortion. Yep.
Last month’s issue ended with the massive revelation that Buffy had a little slayer in the oven. In this month’s issue Buffy is seeking advice from the one person who know’s all about being the child of a Slayer: Robin Wood.
Shelf Life sat down with creator Joss Whedon to talk about the controversial turn in the series. Whedon stated that he felt very strongly about teen pregnancy, or unprepared pregnancy in general. As far as he is concerned,...
- 2/9/2012
- by Brandon Johnston
- ScifiMafia
The Alamo Drafthouse has quickly garnered a reputation as one of the greatest movie theaters in the history of mankind…or at least the history of movie theaters. With their signature events, ample food and drink selection, and strict no-talking policy, they make obsolete all tawdry multiplexes and completely redefine the movie-going experience. Here’s what they’re up to this week! Thursday January 26th Big Screen Classics: Rear Window Alamo Lake Creek 7:00pm “Alfred Hitchcock's masterpiece Vertigo is a true feat of cinema, a dizzying rebuttal of the traditional films made at the time of its release. Film scholar Robin Wood calls the film "Hitchcock's masterpiece to date and one of the four or five most profound and...
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- 1/26/2012
- by affiliates@fandango.com
- Fandango
By John Exshaw
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
Being reports of certain events which would have appeared earlier, had fate and the need to earn a buck not intervened.
Western Season
Irish Film Institute, 24-28 August 2011
Waiting at the station for the 3:10 to Tara Street, I was feeling good – deep down good, the way a man can feel when he’s got a bunch of Westerns to watch and a passel of press passes in his pocket. Leaving the Iron Horse at Westland Row, I cut across Grafton Street (no sign of them pesky Rykers) and on down to the Irish Film Institute, where they were about to let rip with a four-day, eight-film season called ‘The Western: Meanwhile Back at the Revolution ... The Western As Political Allegory’. Well, I reckoned they could use all them fancy five-dollar words and dress it up whatever they damn well liked,...
Normal 0 false false false En-us X-none X-none MicrosoftInternetExplorer4
Being reports of certain events which would have appeared earlier, had fate and the need to earn a buck not intervened.
Western Season
Irish Film Institute, 24-28 August 2011
Waiting at the station for the 3:10 to Tara Street, I was feeling good – deep down good, the way a man can feel when he’s got a bunch of Westerns to watch and a passel of press passes in his pocket. Leaving the Iron Horse at Westland Row, I cut across Grafton Street (no sign of them pesky Rykers) and on down to the Irish Film Institute, where they were about to let rip with a four-day, eight-film season called ‘The Western: Meanwhile Back at the Revolution ... The Western As Political Allegory’. Well, I reckoned they could use all them fancy five-dollar words and dress it up whatever they damn well liked,...
- 12/31/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Sign of the times: A big-budget internationalist action throwback of sorts, one with some of the goofiest, most downright absurd conceits you’ll find all year, Jean-Jacques Annaud’s both intentionally and unintentionally funny Or Noir (Black Gold) will probably never see the light of day in the States. Relegating it to marginal art-house material because of its odd place on the contemporary film mantle, in which it has been deemed simply too silly and conventional for the American art house crowd and too high minded and not award season-worthy enough for the big leagues, Warners is only handling the U.K., Europe and a massive roll out to nine Middle Eastern countries between Thanksgiving and the year’s final month before sending the film North in the new year. It was feted this weekend at the 11th annual Festival international du Film de Marrakech, with a gala affair complete...
- 12/6/2011
- by Brandon Harris
- Filmmaker Magazine - Blog
In our writers' favourite films series, Tony Paley saddles up for a heartwarming tale of friendship and courage in the old west
• Did this review miss the target? Fire away with your own attempt here – or get set for a showdown in the comments
Move aside Hitchcock, Welles, Ozu and Ophüls. They only managed to make what I consider the greatest movies. Howard Hawks made the ones I love.
Rio Bravo, not to be confused with Rio Lobo or the director's other pale imitation, El Dorado, is Hawks's masterpiece. And a weekend BBC movie matinee slot some three decades ago was a perfect introduction. Watching Rio Bravo demands the best part of an afternoon or evening and a particular frame of mind. It is a nigh-on two and a half hour western in which the tumbleweed lazily rolls across the main street from one character to another. Of course there are shootouts,...
• Did this review miss the target? Fire away with your own attempt here – or get set for a showdown in the comments
Move aside Hitchcock, Welles, Ozu and Ophüls. They only managed to make what I consider the greatest movies. Howard Hawks made the ones I love.
Rio Bravo, not to be confused with Rio Lobo or the director's other pale imitation, El Dorado, is Hawks's masterpiece. And a weekend BBC movie matinee slot some three decades ago was a perfect introduction. Watching Rio Bravo demands the best part of an afternoon or evening and a particular frame of mind. It is a nigh-on two and a half hour western in which the tumbleweed lazily rolls across the main street from one character to another. Of course there are shootouts,...
- 11/10/2011
- by Tony Paley
- The Guardian - Film News
At The Av Club, Steven Hyden wrote a really interesting piece today calling for a new measurement of excellence in the world of popular music. In addition to judging a band's "popularity" and "critical respectibility" he suggests you apply "the five-album test" to determine musical greatness. If an artist puts out five great albums in a row, they pass.
"Lots of artists have five or more classic albums (not including EPs or live records), but the ability to string them together back-to-back means being in the kind of zone that's normally associated with dominant college women's basketball dynasties."
It's a really fun test to apply to music -- The Replacements make the cut but The Rolling Stones don't -- which made me think that it would be equally fun to apply it to film. The five-movies test, though, is arguably even harder to pass than the five-albums test.
Many of...
"Lots of artists have five or more classic albums (not including EPs or live records), but the ability to string them together back-to-back means being in the kind of zone that's normally associated with dominant college women's basketball dynasties."
It's a really fun test to apply to music -- The Replacements make the cut but The Rolling Stones don't -- which made me think that it would be equally fun to apply it to film. The five-movies test, though, is arguably even harder to pass than the five-albums test.
Many of...
- 7/19/2011
- by Matt Singer
- ifc.com
Hi Lee,
When you say in your online reply to the Candy defender that you're "about the only one who will admit to seeing some great things in Michael Cimino's Heaven's Gate", do you mean the only in your house? The only one of Retro's editors? If not, I'd be amazed if you didn't know that the film has a large following of reputable critics who regard it (as I do) as one of the last great Hollywood movies. See, for instance, the chapter on it in Robin Wood's book Hollywood from Vietnam to Reagan (in the Sight and Sound 1982 critics poll, Wood named it as one of the ten greatest films of all time).
On the other hand, I think you're right about Skidoo. But I know one academic critic who loves it! I don't think Rosebud is too bad either. I guess every film has its champion...
When you say in your online reply to the Candy defender that you're "about the only one who will admit to seeing some great things in Michael Cimino's Heaven's Gate", do you mean the only in your house? The only one of Retro's editors? If not, I'd be amazed if you didn't know that the film has a large following of reputable critics who regard it (as I do) as one of the last great Hollywood movies. See, for instance, the chapter on it in Robin Wood's book Hollywood from Vietnam to Reagan (in the Sight and Sound 1982 critics poll, Wood named it as one of the ten greatest films of all time).
On the other hand, I think you're right about Skidoo. But I know one academic critic who loves it! I don't think Rosebud is too bad either. I guess every film has its champion...
- 6/23/2011
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Time for a quick break from the news coming out of Cannes. With the emphasis on quick, here's a bit on what's going on elsewhere.
First, on the film journal front, Midnight Eye's posted three new reviews and a feature by Mark Player, "Post-Human Nightmares: The World of Japanese Cyberpunk Cinema." The new Offscreen features pieces on Luis Buñuel, Jesús Franco, Wristcutters: A Love Story, A Single Man and 3D. Word from Catherine Grant: "The second issue of the new Movie: A Journal of Film Criticism has just been posted online, with a wonderful looking Lang dossier, a fine tribute to the late Robin Wood, which takes the form of seven of his rarest pieces from the 1960s, 70s and 80s. And there's more besides on Susan Hayward and Vincente Minnelli." Speaking of Lang, you'll want to see David Bordwell's latest entry on how Lang shifts our alignment and...
First, on the film journal front, Midnight Eye's posted three new reviews and a feature by Mark Player, "Post-Human Nightmares: The World of Japanese Cyberpunk Cinema." The new Offscreen features pieces on Luis Buñuel, Jesús Franco, Wristcutters: A Love Story, A Single Man and 3D. Word from Catherine Grant: "The second issue of the new Movie: A Journal of Film Criticism has just been posted online, with a wonderful looking Lang dossier, a fine tribute to the late Robin Wood, which takes the form of seven of his rarest pieces from the 1960s, 70s and 80s. And there's more besides on Susan Hayward and Vincente Minnelli." Speaking of Lang, you'll want to see David Bordwell's latest entry on how Lang shifts our alignment and...
- 5/16/2011
- MUBI
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