• Gems from the Archive •
THE LATEST
“It Ain’t Like It Used to Be. But It’ll Do:” How Sam Peckinpah’s ‘The Wild Bunch’ Became Both a Eulogy for a Mythic Past and a Template for a New Kind of Action
‘The Parallax View’ at 52: Pakula’s Unsettling Examination of the Post-Compliant America
‘Psycho’ at 66: The Proto-Slasher that Brought On a Revolution in Cinema
‘Predator’ at 39: John McTiernan’s First Studio Gig that Became an Epic Action Classic
‘The Truman Show’ at 28: Weir and Niccol’s Uplifting Yet Prophetically Disturbing Dystopian Satire
We Can Mis-Remember it 80s-Style: ‘Total Recall’ Was the Last Gasp 80s Ultraviolent Action Extravaganza for a New Decade
NOC NOC: How ‘Mission: Impossible’ Lit the Fuse of Action Stardom Within Tom Cruise
‘Stalker’: Andrei Tarkovsky’s Merger of Contemplative Style and Transcendental Substance Designed to Put Us in the Zone
Hitchcock’s ‘Vertigo’: The Unrelenting Male Gaze that Blurs the Lines Between Possession and Obsession
The Sheep That Got Found: ‘Man on Fire’
Cleansing of the Soul for a Clean Slate: Guillermo del Toro’s ‘The Devil’s Backbone’ at 25
C&B 2025 FILM CALENDAR
