The pleasure of writing, of pairing words with another to create a distinct or lingeringly atmospheric or poetic effect, seems beyond King’s concern these days.
Maureen Corrigan's deconstruction of the novel in the context of noir, or “hard-boiled” detective fiction, offers a refreshing perspective.
At 221 pages, it’s a tightly knit piece of fiction, an elegant examination of a complicated problem.
The novel suggests a print fusion of the filmmaker’s early, grungy, bluntly metaphorical work with the subtler, formally refined, classical elder-statesman films of his most recent period.
The narrator is not an aloof artist, but someone absurdly tied-up in the daily neuroses of the modern world.
Mizruchi provides analysis that’s offered a bit too much as objective fact.
Besides a number of instances of clunky, clichéd writing, Pascale has a tendency to summarize and explain every movie and episode she references.
Palin’s depiction of Hamish Melville, the impossibly ethical activist against which Mabbut compares himself, is handled unexpectedly.
A compassionate, pragmatic anti-sentimentality, or an attempt at one, serves as the through line for his examination of one the most mythologized of all screen actors.
Split Screen Korea exemplifies a kind of necessary scholarly monograph that will never go out of style.
Nicholson astutely connects Eyes Wide Shut back to Interview with the Vampire through their intentionally strained eroticism, which serves to acknowledge the films’ respective true theme of the capitalist power that lingers under the superficial sexual roleplay.
Friendship may read to many, especially those unfamiliar with New York, as one giant inside joke without a punchline.
Rakoff acknowledges that it takes a lot to make people care.
King shrewdly connects Hodges’s torment, the stuff of formula cop movies, to larger American feelings of rootlessness and economic despair.
This is a satisfying survey of the artists who’re still actively turning the graphic novel into a new kind of literature.
Aside from expected essays on film adaptations, there are a number of pieces that roam free from these constraints.
The book is more a corroboration for the initiated than inquest for the infidels.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Herbert’s strongest work comes via his explanation for the physical layout of various stores and how each utilizes the space in order to cater to a specific type of consumer.
That lack of scope—and subject specificity—makes itself apparent in a small detail: McGowan’s failure to refer to Lee’s films as “joints” at any point, a label which all films but a few documentaries have carried.