Almost out of necessity, White finds a particularly prominent motif throughout Haynes’s work: a fascination with the out-of-line family.
Epstein provides only a cursory understanding of Marvin as cultural icon.
If Basinger’s methodological means lack revelation, they’re compensated through several canny observations, mostly related to on-screen personas.
Instead of understanding the femme fatale as a genre staple, Grossman wants to dispense of the characterization altogether.
In terms of demographics, Dario Argento is clearly intended as a text for both newcomers and knowledgeable fans alike.
Greven’s analysis is fluid and detailed, while excavating exhilarating thematic linkages between all filmmakers.
Throughout, Morgan depends on readers to maintain pace with his seemingly ad hoc critical mode.
Autobiographical acts, as Eric Ames calls them, are inseparable from the films proper.
Barry Forshaw has made a career out of studying the dames, pistols, machismo, and glistening city streets that define crime fiction.