Eros and Thanatos Collide in David Cronenberg’s Id-Driven Adaptation of J.G. Ballard’s ‘Crash’
By Koraljka Suton As a young upstart filmmaker I felt that you were not a real filmmaker if you…
Interview
A Carpenter of Death and His Four Horsemen: Samuel Fuller’s ‘The Big Red One’
By Tim Pelan In Hollywood, personal films can often become bloated vanity projects. With Samuel Fuller’s semi-autobiographical WWII memoir,…
We Blew It? Douglas Trumbull’s ‘Silent Running’ Took the Counter-Culture Legacy of ‘Easy Rider’ As a Paean to the Planet
By Tim Pelan On this first day of a new century we humbly beg forgiveness and dedicate these last…
How John Schlesinger’s Homeless and Lonesome ‘Midnight Cowboy’ Rode His Way to the Top and Became the First and Only X-rated Movie to Win a Best Picture Oscar
By Koraljka Suton A friend of mine, an American painter living in London, had read the book and suggested…
Rev, Rev, Against the Dying of the Light: The Fading Feudal Code of John Frankenheimer’s ‘Ronin’
By Tim Pelan I’ve made a lot of mistakes in my life, burned a lot of bridges, and reached…
Play for Play: How The Color of Money’s ‘One For Them’ Assignment Reignited Martin Scorsese’s Hunger for the Work
By Tim Pelan After ‘The Last Temptation’ was cancelled in ’83, I had to get myself back in shape….
Fixed Images of Eternity: Time, Perception, & Grief in ‘Don’t Look Now’
By Jasun Horsley The speaker is Death: There was a merchant in Bagdad who sent his servant to market…
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…
“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…
‘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…