No Way Out borrows the template for socially conscious filmmaking from both Gentlemen’s Agreement and Crossfire.
The film is still an important footnote in the history of Hollywood’s portrayals of racism.
Watch as we unveil one winner prediction every day until the Saturday before Oscar night.
The album is simultaneously a structural free-for-all and a glossy collection of diverse material.
The color bland will never be the new black.
Walt Doggy Dogg’s canine love story came to the movie screens (and now your home theater) fixed, although you’ll probably still get heartworm.
Edvard Munch, in Peter Watkin’s subjective documentary setting, is one of the penultimate cultural crusaders.
Peter Watkins’s Munch gives good face. New Yorker’s uncharacteristically fine video transfer will have you deigning to lick his lips for him.
The album suggests dance-floor abandon, instead of actually providing it.
The swank studio arrangements belie a deep-seeded conviction that love exists.
I bet you thought I’d go from unpacking Hepburn’s ying to examining George Peppard’s ying-a-ling
Hey, Paramount. The 45th anniversary is the sapphire anniversary.
Is anyone surprised when self-loathing seekers of post-ironic self-delusion turn on their own?
Is it fair to say that the language of philosophy is more or less writ in the manner of Final Jeopardy?
She Wants Revenge is a testament to a time in dance music history when everything old is new again.
Bergman was probably right to consider The Virgin Spring one of his lesser efforts, but at least it inspired the best Bergman remake.
In case you needed to know, Christianity wins hands down, across the spread.
We’ll be completely honest. Predicting Oscar nominees is just no fun anymore.
Decolonization in the film isn’t only a myth, but also one that actually strengthens the consumerist caste systems.
With Black Girl, Sembène used the aesthetic freedom of the French New Wave to attack that very nation’s hubris.