Rats In the Attic: William Friedkin’s ‘The Exorcist’
By Tim Pelan Forty-five years after its powerful debut, and with all the attendant publicity, analysis and second-hand knowledge,…
Cinematography
‘Walk the Line’: How James Mangold Uncovered the Emotional History of Johnny Cash
By Koraljka Suton He had to find the range of his own creativity, and learn how to control this…
A 1971 Interview With Alejandro Jodorowsky on ‘El Topo,’ the Psychedelic, Genre-Bending Midnight Movie
By Sven Mikulec Alejandro Jodorowsky’s El Topo just might be the weirdest, most bizarre, genre-bending film we’ve ever seen….
‘Magnolia’: Paul Thomas Anderson’s Absorbing Mosaic of Compassion, Humanity and the Importance of Forgiveness
By Sven Mikulec In 1997, an ambitious 26-year-old called Paul Thomas Anderson made Boogie Nights, his sophomore directing effort…
And Unto Dust We Shall Return: On Martin Scorsese’s ‘The Irishman’
By Theo Zenou This review contains spoilers. The Irishman, Martin Scorsese’s hyped return to the gangster genre, is not…
“I’ll Be Bond”: Arnold Schwarzenegger and James Cameron’s Everything or Nothing Shot at the James Bond Title
By Tim Pelan James Cameron’s spy thriller/comedy True Lies (1994) came along at a time when the James Bond…
How ‘Once Upon a Time in America’ Became Sergio Leone’s Butchered Swan Song
By Koraljka Suton I am not fascinated, as you say, by the myth of the West, or by the…
Hitchcock’s ‘Vertigo’: The Unrelenting Male Gaze that Blurs the Lines Between Possession and Obsession
By Koraljka Suton It is no secret that the late Alfred Hitchcock was—and still is—not only one of the…
‘Point Blank’: John Boorman’s Amalgamation of American, British and French Filmmaking Styles
By Koraljka Suton British filmmaker John Boorman started out by making documentaries for the BBC before getting a chance…
Paradise Lost: How Martin Scorsese’s ‘Casino’ Charts the Rise and Fall of a Criminal Empire
By Tim Pelan This story has to be on a big canvas. There’s no sense in my getting Bob…