The Limey is one of many American films released in 1999 that seemed to be saying goodbye to the rebel spirit that allowed indies and mainstream movies to comingle as they had in the ’70s.
The book offers numerous alternative suggestions about the trends of critical reception in film/media culture.
Epstein provides only a cursory understanding of Marvin as cultural icon.
What very good company Robert Redford keeps indeed.
There is something distinctly portentous about seeing a foreigner dressed as a gangster.
Is Soderbergh’s film better than Tarkovsky’s, or the other way around?
Politically, sexually, and spiritually, Stamp is an icon of the most idealistic side of the '60s.