Sic Transit Garber’s Subway: ‘The Taking of Pelham One Two Three’
By Tim Pelan Only the amazing reaction that that picture has gotten, because at the time I was dreadfully…
Screenwriting
‘Bringing Out the Dead’: Scorsese’s Deeply Humane Unsung Gem
By Koraljka Suton We wanted to do New York at night in a way that would create a claustrophobic…
‘Sweet Smell of Success’: A Visceral and Vicious Depiction of the Evil that Power-Hungry Men Do
By Koraljka Suton There’s an old rule among directors that you see a film in its totality about four…
‘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…
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…
“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 This story has to be on a big canvas. There’s no sense in my getting Bob…
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…
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…
