“‘The Hill’ charts a path forward for Lumet’s justice films, which increasingly depart from the idealism of ’12 Angry Men’ and reckon deeply with the justice system’s contradictory, irreconcilable principles.”
“A sense of restlessness began to be addressed tentatively, and was confronted with increasing boldness as the decade progressed. Battles were being waged on multiple fronts of this unacknowledged war, claims were being sought from historically neglected constituents.”
“If part of the horror genre’s mission is to elicit fear through the erosion of safety, then the endings of ‘Hereditary’ and ‘Midsommar’ are the ultimate expression of that mission.”
“There are things about ‘Rocky III’ that definitely raise eyebrows — its racial dynamics and maybe even its class politics — but ultimately it shows a fighter overcoming his opponent by reaching out to those around him and confronting the problems within.”
“Cagney’s sadistic lead in ‘White Heat,’ a searing 1949 crime drama from director Raoul Walsh, is something well past the norms of a conventional male protagonist — or antagonist, for that matter.”
“For my money, David Lowery has been as much fun to watch as any filmmaker of his generation.”
“The ‘Predator’ franchise is a repository of the fears that plague the powerful. The context changes, but the fear persists — the fear that the conqueror may one day become the conquered.”
“Yates delivers the message that our chosen professions and work environments define who we really are. One cannot successfully live a dual existence. Love requires the joining of oneself to another person as well as that person’s job.”
In the Vague Visages Writers’ Room on Slack, freelancers were asked to comment about their favorite new wave films from any international movement.
“‘Greed’ is like the gold within the soil, a gem that must be mined from its sullied context.”
