Reclaiming the Lost Art of Melodrama in Sidney Lumet’s Unsung Masterpiece: ‘Before the Devil Knows You’re Dead’
By Parrish Stikeleather I sent the script first to Philip, one of the finest actors in the country, and I gave him the choice…
Interview
“We Translate Every Experience into the Same Old Codes”: In Michelangelo Antonioni’s ‘The Passenger,’ Jack Nicholson Attempts a Transference of Self
By Tim Pelan Michelangelo Antonioni’s 1975 film The Passenger is a languid thriller in which not much seems to happen, beautifully. The protagonist, David…
‘The Past, Present and Future of Humanity’: John Boorman’s ‘Excalibur’
By Tim Pelan John Boorman’s 1981 fantastical retelling of Thomas Mallory’s Le Morte d’Arthur is, to quote Nicol Williamson’s Merlin in the film, “A…
‘Sunset Boulevard’: Billy Wilder and Charles Brackett’s Sobering Exposure of the Dark Side of Hollywood
You will not find in my pictures any phony camera moves or fancy setups to prove that I am a moving-picture director. My characters…
‘Batman’ (1989): How Tim Burton’s Version of the Caped Crusader Put the Dark in Dark Knight and Gave Wings to the Superhero Movie Genre
By Koraljka Suton Exactly 30 years ago, in the summer of 1989, the world was swept off its feet by a creature of the…
‘And the Sea Will Grant Each Man New Hope, As Sleep Brings Dreams of Home’: John McTiernan’s ‘The Hunt for Red October’
By Tim Pelan There is a long and noble history in Hollywood of submarine war films. The two most recent examples that spring to…
“If You’re Going to Sell Your Soul to The Devil, the Consequences Are There for You to Suffer”: Ridley Scott and Cormac McCarthy’s ‘The Counselor’
By Tim Pelan Not much of a one for describing his work, author Cormac McCarthy bluntly describes The Counselor, his first original screenplay, knocked…
From Facebook to ‘Fuck-You Flip-Flops’: How Aaron Sorkin and David Fincher Made ‘The Social Network’ a Fiery Word-Off
By Adam Buffery I’ve been Mark Zuckerberg—there are times in my life where I’ve acted that way. There are times in my life where…
‘DOES THIS LOOK LIKE A SICK MAN TO YOU?’: The Horror of Identity and the Identity of Horror in David Cronenberg’s ‘The Fly’
By Travis Woods TELEPOD 1: STATHIS He watches Her, trembling and nerve-twitched, eyes darting, lips pulled back over protruding teeth left exposed by a…
“No One Is Just Anything”: In William Friedkin’s ‘Sorcerer’, Four Reduced Men Must Gamble with Life to Give It Value
By Tim Pelan The film became an obsession. It was to be my magnum opus, the one on which I’d stake my reputation. I…