‘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…
Screenwriting
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…
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…
Paradise Lost: How Martin Scorsese’s ‘Casino’ Charts the Rise and Fall of a Criminal Empire
By Tim Pelan Casino in some respects is director Martin Scorsese dialing Goodfellas up to 11. Oh, you want…
Jean-Pierre Melville: Life and Work of a Groundbreaking Filmmaking Poet
By Sven Mikulec One of the very few filmmakers we deeply cherish above almost all others and whose work…
‘Miller’s Crossing’: A Lamentation of Losers by the Coen Brothers
By Tim Pelan After the success of Raising Arizona, Joel and Ethan Coen were given the chance to do…
Carol Reed’s ‘The Third Man’: How Orson Welles Stole a Show He Was Barely In
By Koraljka Suton Filmmaker Carol Reed, hailed as one of the greatest U.K. directors, became famous in the late…
‘In the Mouth of Madness’: John Carpenter’s Love Letter to H.P. Lovecraft and the Subgenre of Cosmic Horror
By Koraljka Suton Director John Carpenter was always one to surprise, frighten and delight his audiences. After making Dark…
Once Upon a Time… In the Philippines: Francis Ford Coppola’s ‘Apocalypse Now’ Is a Three-Time Prime Cut of Film-Making Largesse
By Tim Pelan According to its director Francis Ford Coppola, Apocalypse Now was “a Los Angeles dream of war.”…