His Blazing Automatics: Ilinca Calugareanu’s ‘Chuck Norris vs. Communism’ and Better Living Through Action Films
“One action hero can change the world.”
His Blazing Automatics: The ‘District 13’ Films, ‘Brick Mansions’ and Cultural Identity in Action
A Column on Action Films by Dylan Moses Griffin
His Blazing Automatics: Can Jason Bourne Change the Action Genre Again?
A Column on Action Films by Dylan Moses Griffin
His Blazing Automatics: Does ‘Hardcore Henry’ Revolutionize the Cinematic Action Hero?
A Column on Action Films by Dylan Moses Griffin
His Blazing Automatics: Please Give Us More Gina Carano Action Films
A Column on Action Films by Dylan Moses Griffin
His Blazing Automatics: Frank Grillo Is Our Most Undervalued Action Hero
“Did we really need another Purge film? Probably not, but did we need another film where Frank Grillo kicks ass? Yes. Absolutely yes.”
His Blazing Automatics: Gareth Evans Just Made the Best Action Film of 2016 in 5 Minutes with ‘Pre Vis Action’
“It’s not even February, but it feels safe calling Pre Vis Action the best action film of 2016.”
His Blazing Automatics: 2016 Is the Year of Keanu Reeves
“Don’t call it a comeback, call it a Reeves-urrection.”
His Blazing Automatics: For Your Year-End List Consideration – John Maclean’s ‘Slow West’
“Simply put, Slow West is unlike anything out there this year and deserves to be recognized as one of the most unique works of 2015, as it only grows and develops with each viewing.”
His Blazing Automatics: Jeff Nichols’ ‘Midnight Special’ and the Middle-Class Studio Film
“If Midnight Special does well in March, the film will undoubtedly encourage an environment in which middle-class studio releases aren’t such a rarity, because the film world needs more working class heroes like Jeff Nichols.”
His Blazing Automatics: The Postmodern Horror of Alfonso Gomez-Rejon’s ‘The Town That Dreaded Sundown’
His Blazing Automatics is a Vague Visages column by Dylan Moses Griffin.
His Blazing Automatics: The Unrelenting Horror of David Robert Mitchell’s ‘It Follows’
A Column by Dylan Moses Griffin
His Blazing Automatics: Ramin Bahrani’s ‘Chop Shop’ and the New Americana Film Movement
A Column by Dylan Moses Griffin
His Blazing Automatics: The Theme Park Ride Exhilaration of Marcus Dunstan’s ‘The Collector’ and ‘The Collection’
A Column by Dylan Moses Griffin
His Blazing Automatics: You and Me and the Devil Makes Three – The Religious Allegory of Craig Zobel’s ‘Z for Zachariah’
A Weekly Column by Dylan Moses Griffin
His Blazing Automatics: The Communicative Filmmaking of Cornel Wilde’s ‘The Naked Prey’
A Column by Dylan Moses Griffin
His Blazing Automatics: How One Scene in ‘Mission: Impossible – Rogue Nation’ Defines the Strengths of Christopher McQuarrie
A Column by Dylan Moses Griffin
His Blazing Automatics: What the Release Date Push for Jeff Nichols’ ‘Midnight Special’ Means
A Column by Dylan Moses Griffin
His Blazing Automatics: The Cinematic Connection of Chan-wook Park’s ‘Oldboy’ and Kihachi Okamoto’s ‘The Sword of Doom’
A Column by Dylan Moses Griffin