What She Said is enjoyable, but one suspects that its subject may have found it soft.
That multitude, with regard to films, is rather restricted to a specific kind of cinephilia, primarily an overt emphasis on Classical Hollywood.
Gemünden’s extensive definition of “exile” draws on the likes of theorists Theodor Adorno, Edward Said, and Salman Rushdie.
While many academic monographs take a single director, time period, or genre as their field for analysis, Andrews is juggling at least half a dozen at once.
In terms of demographics, Dario Argento is clearly intended as a text for both newcomers and knowledgeable fans alike.
This is the script Tarsem Singh should have directed.
What’s left to say of the film critic who haunts all others?
The Aviator’s Wife is valuable for being perhaps the most stifled movie that Rohmer ever made.
As documented by Mary Jordan, Jack Smith’s art was incontrovertibly tied up with his vengeful, assaultive personality.
Chaw rages against the Hollywood machine’s depictions of class, gender and race, puncturing political correctness.
These are the sorts of films New York Times critic A.O. Scott recently complained weren’t being made anymore.
It’s a shame not to be able to hear such a strong critic week in and week out.
Leonardo DiCaprio, like Natalie Portman and Kirsten Dunst, seems less complicated and charismatic the older he gets.