The film seemed like the ideal ending point for the lowbrow slasher series.
Still and all, Preston is in full-on Captain Ahab mode and remains undeterred by the struggle.
Films aren’t built on sexy motors alone.
It’s not beer, it’s not drugs, it’s just a film, and yet we leave elated, having been taken for a ride.
When Jim Jarmusch met hard-boiled, irreverent Japanese filmmaker Seijun Suzuki, they spent an entire evening hanging out.
Bart Mastronardi’s psychological horror film Vindication owes plenty to the complex mythologies of Clive Barker novels.
Even the trip to Long Island where we were shooting our scenes felt a little traumatic.
It’s not the music, it’s the refrains that got me.
Wallace wrote for Premiere in the mid-to-late 1990s, about subjects as diverse as David Lynch, Terminator 2, and the Adult Video News Awards.
The 8-year-old boy, Matthew, is clutching his mother’s sleeve tight and holding her hand. He looks very pale.
This incendiary agitprop regards Vietnam as a story of murder, humiliation, xenophobia, cultural brainwashing, and unjustified warmongering.
The film makes the viewer wait in a state of anticipation for something to resonate on screen.
This inferior Murnau tone poem merely drifts interminably along on gothic autopilot.
Connecting Polanski’s work to what a western audience would refer to as absurdism or surrealism, Bird views them as personal artistic statements.
Bird discusses Polish director Andrzej Zulawski and more.
Hobson’s Choice is a superb addition to the Lean canon, and a charming and surprising selection by Criterion.
Correctly heralded as one of the giants of cinema, David Lean simply knew where to put the camera.
Shadows feels like a Beatnik relic, which gives it tremendous value.
People compare Cassavetes to jazz because his films are lively, vivid, and bursting with energy.
At 80 minutes, its cinematic flash fiction, and a suitable entry point into the lively body of work Cassavetes made.