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The poor quality, cheap special effects and banal approach to both the character of Superman and the threat of nuclear annihilation in Superman IV: The Quest for Peace are of course very endearing, and the film undoubtedly deserves its place in the so-bad-it’s-good canon. But its true appeal lies
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Considering how topical this film was at the time of release and remains today — showing the bullying and silencing of a young woman working for a powerful film producer, clearly based on Harvey Weinstein — I am sure there have been tons of writing on the dynamics it explores, namely the
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At first glance, Eliza Hittman’s Never Rarely Sometimes Always appears to adopt wholesale a visual style that seeks to make the viewer experience, on a visceral level, the habitat of the characters, the mood and the texture of their lives. Shot on 16mm, the film favours close-ups on faces
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From the very first shots of Yi Yi, Edward Yang’s control of his images is evident. He does not cut away from long takes when one would expect him to, nor does he follow up a long shot with the kind of close-up most filmmakers would use to punctuate
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Something that has been occupying my mind a lot lately is the concept of fantasy. I don’t mean the literary genre, but the imaginary world that we sometimes find ourselves spending more time in than reality. I think that many of us often live in a fantasy — at least
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I have been watching a lot of Law & Order: Special Victims Unit these past few weeks, and in that show, the cops essentially do not care about why the perps (SVU talk for “perpetrators”) do what they do; all they care about is stopping them. This is obviously not
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It is always painful to realise what a brilliant actor James Woods is, considering the kind of person he has become. Interestingly (or not), he is really good at playing very unpleasant characters, and The Hard Way is no exception. His John Moss is a brutal NYPD cop whose work
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I don’t think that a teen film which does not begin to enact its basic concept and selling point (here, a kid setting up a brothel in his parents’ house) until an hour in could be made today. But even more inconceivable to me is the idea that a
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I know this entry in the franchise is reviled by most. There is nothing I can do about that. But for my own sake, and in the secret hope that history will eventually prove me right, I want to go into some detail about why I find this film an
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I didn’t know anything about the sports movie All the Right Moves when I took my DVD from the shelf (though I should have remembered the conversation in Scream about how, if you pause it just right, you can see Tom Cruise’s penis; I can now confirm that
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I watched Dark Blue simply because I’d been meaning to for a while and because I’d seen Ron Shelton’s White Men Can’t Jump a couple of days earlier, but it turned out to be a freakily timely watch. When the BLM protests started this year and