Mannhunting: Exploring Masculinity in the Films of Michael Mann – Part One
Mannhunting #1 by Bill Bria: “The protagonists and antagonists in Mann’s films tend to be mirror images of each other, all of them caught within masculinity’s shackles.”
Mannhunting #1 by Bill Bria: “The protagonists and antagonists in Mann’s films tend to be mirror images of each other, all of them caught within masculinity’s shackles.”
“‘Madman’ frequently flirts with boundary-pushing concepts but ultimately settles for clichés or, worse, just weasels out completely and falls flat on its face.”
“Even though ‘The Psychic’ and ‘The Black Cat’ don’t exist as prominently in the cultural consciousness as ‘The Texas Chainsaw Massacre’ and ‘Halloween,’ there is a sense that the Final Girls do exist in the wider world of horror…”
“As with the underlying creed of Trances, the unambiguous intent of Redes’ communal message resonates in its country of origin and around the world, communicating the pleas for justice, egalitarianism and independence that are vital facets of life and are so often central to the best of all cinematic documentaries.”
“‘Prince of the City’ is a taxing, draining experience, but one that is ultimately rooted in very real despair; the system, it argues, has failed. If these characters are the products of the American criminal justice system, then it ought to be blown up.”
“This is a world where faith, governments, businesses, families and the other institutions humans have built will all crumble, just like human bodies, which will inevitably succumb to their fragility and fall victim to total destruction.”
“Some of Avildsen’s men turn to violence. Some of them turn to crime. Some of them turn inward. All of them know that somehow, some way, they must turn. They cannot survive, let alone win, without surrendering some part of themselves.”
“So, what is it about these two figureheads of cult film that makes them so iconically and definitively camp?”