If it weren’t for Lawrence of Arabia, I might well not be typing this out.
The film subverts the conventional guilty pleasures of the Vietnam genre by stressing the guilt and blunting the pleasure.
The second season of The House’s “Grassroots Tavern” podcast series begins, fittingly, with our second episode.
David Lean did nausea well, or a sudden burst of madness, but he is most stimulated by the theme of sexual repression.
Filmmakers need to stop viewing audiences in linear terms, to start widening the net, embracing an umbrella approach, thinking in the language of prisms so peasants and kings get fed together.
Understanding Screenwriting #4: Vicky Cristina Barcelona, I Served the King of England, Juno, & More
Talk about rookie mistakes.
Tarsem Singh’s transgressive visual statement revolves around two layers of fiction.
De Palma remains one of the most prolific, poorly understood and controversial directors in the history of cinema.
At the end of the episode, the biggest thematic question remains unanswered: Who is the golden violin, apparently perfect in all ways but unable to play music?
Why is François Truffaut’s 1960 film so timeless?
Shoot the Piano Player has the seeds of Truffaut’s best traits.
In The Pope’s Toilet, form doesn’t equal function and neither side of the equation is particularly pleasant.
Now that the RNC is over, my feelings about the Republican’s chances in November remain unchanged.
Pixar’s best flare like comets: beautiful, bright, unforgettable.
It’s good to see Nauman’s efforts, but when we go to the museum, sometimes we don’t want to be fed our response.
I’ll say one thing: Sarah Palin’s no Dan Quayle.
Gustav’s threat seemingly over, day two of the RNC was a return to semi normalcy.
If an opening gavel falls in the forest and no one hears it, will it provide a post-convention bounce?
Call me Ishmael.
I feel awkward whenever I cop to it, but it’s true, and it probably always will be: I just don’t like Peggy Olson.