As story elements, the cauldron and the magical potion are almost overinvested with the history of Western literature and folklore. They stand out as props. Handling them clumsily will dissolve a horror story with staleness.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
Throughout, Del Toro’s book obliterates repugnant notions of "high art" and "low art."
Seitz coaxes perception-altering sentiments out of Anderson by pointedly playing right into his persona of the wounded naïf intellectual.
Meeuf calls on much example-based evidence to support his claims, though the strongest arguably come from his compelling and enjoyable discussion of the difference between one-sheet posters in various nations.
The implication for Furuhata, and it seems the correct one, is that cinema “has the capacity to absorb and subsume other media forms.”
Manhattan, spring of 2001. The dotcom bubble has burst, but the Beanie Babies bubble has not.
Given that there are seven essays plus an introduction, there are seven relatively distinct, internationally significant discussions, and a high quality remains consistent throughout.
The Flamethrowers delivers on the promise of its title; it’s full of destruction, misanthropy, and wanton nihilism. Guns are constantly going off, so the pyrotechnics aren’t merely linguistic.
Whereas Elizabeth Gilbert’s bestselling memoir is a breezy, yuppie fairy tale told in the service of the ego of its author, Today Is the Last Day is bohemian and brutal and frequently reads like a traveler’s nightmare.
Longworth opens with Godfather trilogy and closes with Jack and Jill, mixing a variety of expected classics with more eccentric choices along the way.
Goldman scarcely offers any kind of negative or problematizing element, beyond the attempted suppression of Jewish-specific content from studio heads.
San Filippo’s book is rigorously theoretical and intellectual, though the work must be partially faulted for being almost completely irrespective of cinema as a medium-specific mode of expression.
The book offers numerous alternative suggestions about the trends of critical reception in film/media culture.
What was once a nasty secret became an open secret and is now common knowledge: The middle class is being squeezed, mostly downward, out of existence.
As far as high concepts go, it’s a great one.
Comics and infographics—two of the trendier, if not trendiest, ways to make visual art these days.
Miyao wisely orders chapters by theme or emphasis, providing him the ability to jump from one line of reasoning to another, but without losing previous trains of thought.
Almost out of necessity, White finds a particularly prominent motif throughout Haynes’s work: a fascination with the out-of-line family.
Although the letters help to explain the developing psychology that would lead to Marvin’s film career, Epstein provides only a cursory understanding of Marvin as cultural icon throughout.