We delve into old-school versus modern films, notably Jinsei Gekojo (A Tale of Two Yakuza) against Battles Without Honor and Humanity.
All Is Forgiven’s style may be hermetic, but all the better to keep the plot away from the melodrama it would’ve turned into in lesser hands.
The Unforeseen neatly encapsulates the problems of the contemporary political non-fiction film.
The film is so perfectly paced, taut, and engrossing that you barely notice when the two stories seamlessly intertwine.
Language is only one factor in the film’s negotiation of East and West.
The film is likely to be embraced by its boosters as a modern embodiment of the Italian neorealist style.
Torchwood enters Bizarro World when an alien reprograms the team’s memories—and personalities—in “Adam.”
It’s been fascinating to see (and attempt to predict) how various characters respond to McNulty’s ruse when they learn the truth about it.
We begin the podcast by praising the late, great Roy Scheider.
Susan Sontag was correct when she argued against excessive interpretation of artistic work.
Baltimore-based Beach House is a band with a problem.
“Meat” is a relationship story, ignoring entirely the typical Torchwood theme of how interacting with the alien reveals our inhumanity.
Jumper is a film crippled from the start.
Of course, McNulty won’t evade punishment if Bunk has anything to say about it.
On Valentine’s Day we’re turning the House lights way down low, and offering a little special something…for the looooovers.
Guinea Pig is minimal budget filmmaking with incredible effects.
The presence of an Alex Cox sidebar hints at the series’s anarchistic strivings.
One constantly feels the heavy hand of the director on top of the performers.
The original title for this episode was “My Black Eye,” due to the massive shiner I gave myself after faceplanting onto my bookshelf.
Yes, A Walk to Beautiful is yet another Africa, Continent in Crisis movie. It is also a well-intentioned and beautifully shot film.