We’re back again with our official “Best Introductory Segway Ever” and return guest Mike D’Angelo.
A highly interesting aspect of del Toro’s films is their interest in the ambiguous, morally muddled hero.
There’s that word, “moderate,” again.
Desplechin’s familial trauma is constant, but his art is for himself.
We’re back like Death Metal Disco and thrice as evil.
The inside covers of the books are marked with a pair of maps, essentially bookending history with cartography.
Maybe our mothers were right all along. Maybe true beauty really does come from within. Or doesn’t it?
I am not alone, I am certain, in coming late to the Arnaud Desplechin party poised to jump off this winter.
Hello and welcome again faithful The Futurist! and other Non-Listeners!
Charlie Kaufman makes the basic rookie mistake most people do when they direct their first feature.
Not since Kubrick defused psychological interpretations of The Shining has a director so decisively discouraged theoretical analysis of an intriguing work.
While the discoveries the director makes may be eye-opening to an Israeli, anyone born and raised in the U.S. will find them merely shrug-worthy.
It’s almost funny now, to think: it wasn’t that long ago that movie aficionados had to explain to people the difference between full-screen and widescreen.
So many truths only become clear with hindsight. Here’s one of them: Unbeknownst to nearly everybody, even those closest to him, Andrew Johnston was a superhero.
I love this stuff and Spilt Milk is some kind of genius missing link.
I was so busy trying to find Anne Hathaway’s face in the frame that I missed the emotion she was expressing.
Can you spank a ghost?
It seems not at all coincidental that Don is visually defined by that broad-shouldered suit and the hat that shades his eyes.
Writer-director Dan Sallitt joins us to discuss his recent retrospective at Krakow’s First Annual Off-Camera Film Festival.
This is a complete disappointment for those familiar with the original game.