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Filmmaking
‘Big John’: A 75-Minute Precious Exploration of John Carpenter’s Life, Work and Ways
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song
Rats In the Attic: William Friedkin’s ‘The Exorcist’
Screenwriting
‘A Woman Under the Influence’: Cassavetes’ Intense and Emotionally Exhausting Slice of Life
The Future is Now: Alfonso Cuarón’s ‘Children of Men’ Paints a Bleak Picture of a World Devoid of Humanity
And Unto Dust We Shall Return: On Martin Scorsese’s ‘The Irishman’
Interview
‘Big John’: A 75-Minute Precious Exploration of John Carpenter’s Life, Work and Ways
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song
‘A Woman Under the Influence’: Cassavetes’ Intense and Emotionally Exhausting Slice of Life
Documentary
‘Big John’: A 75-Minute Precious Exploration of John Carpenter’s Life, Work and Ways
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song
Rats In the Attic: William Friedkin’s ‘The Exorcist’
Cinematography
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song
Rats In the Attic: William Friedkin’s ‘The Exorcist’
The Future is Now: Alfonso Cuarón’s ‘Children of Men’ Paints a Bleak Picture of a World Devoid of Humanity
Editing
40 Years of Hurt, Face-Hugging Dreams of Breathing: Ridley Scott’s ‘Alien’
‘JFK’: Oliver Stone’s Emotionally Accurate and Masterfully Crafted Trip Down the Rabbit Hole
Approaching Menace: The American Pathology of Martin Scorsese’s ‘Taxi Driver’
Short film
‘The Devil Needs a Fix’: Ian Ebright’s Sophomore Film Proves His Debut Was No Coincidence
‘The Line’: Luke Wallace’s Gripping Crime Drama With a Terrific Cast
‘Cool Hair’: William Orozco-Cubbon’s Bonnie-and-Clyde-Like Thriller that Leaves Us Wanting More
