His Blazing Automatics: The Communicative Filmmaking of Cornel Wilde’s ‘The Naked Prey’
A Column by Dylan Moses Griffin
A Column by Dylan Moses Griffin
Rudolph Valentino (May 6, 1895 – August 23, 1926)
A Series by Dylan Moses Griffin
A Weekly Column on Love and Erotica in Cinema by Justine A. Smith
“La vallée is not an entirely successful film, largely because of its limp energy and problematic ideological frameworks. It is, however, intensely bizarre and a fascinating portrait of a particular time and place.”
A Series by Dylan Moses Griffin
“Of all Sam Peckinpah’s films, the violence in ‘The Getaway’ often strikes me as the most senseless.”
An Essay by Josh Slater-Williams
A Column by Phuong Le
“Cable Hogue ogles and desires Hildy because she appeals to him sexually: there are no shades of grey here, no self-reflection. In the world of Peckinpah, sex is often just sex.”
A Column by Dylan Moses Griffin
A Series by Dylan Moses Griffin
“Heller draws a refreshing beauty from her “this is what it is” approach in The Diary of a Teenage Girl, getting tenderness out of content too often used simply to titillate, shock or be used for didactic tirades.”
A Column by Max Bledstein
A Column by Dylan Moses Griffin
“‘Black Orpheus’ embraces sex as multiplicitous. This somehow makes the love more noble, because it is not confused with lust, and sex becomes a celebration rather than a symbol of it.”
A Column by Max Bledstein
“Fully asserting the series reboot mantra, M:I II eschews the original’s ethos in favour of half a Hitchcock riff (a lot of Notorious, with a pinch of To Catch a Thief) and half traditional, near self-parodic Woo bombast.”
The Fifth and Final Installment of “Tightrope Cinema: John Cassavetes’ Highwire World” by Phuong Le
A Series by Dylan Moses Griffin