The year before he starred in Witness — Peter Weir’s acclaimed drama about a cop sent to protect a young Amish boy who witnesses a…
Brad Dourif, known for his madman characters and many cinematic iniquities, is, it’s easy to forget, capable of staggering eclecticism. His career, unimpeachable, daring, perfectly…
The Rainmaker may have been a gun-for-hire assignment Francis Ford Coppola did for the paycheck at the height of John Grisham movie mania and during…
It’s interesting — the degree of profundity with which one interprets the word “interesting” here obviously being a “your mileage may vary” situation — that…
It’s 2023: Streaming has become the dominant form of mass culture consumption, handheld Internet access is ubiquitous, the rich have gained total hegemony over American…
Since I was a boy, gaunt and ghoulish, raised on the children’s renditions of Edgar Allan Poe and those silly Goosebumps books, I’ve been obsessed…
Brian De Palma is the great voyeur, the plump-bellied pervert of post-Hitchcock American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable…
After Jerry Seinfeld and his “What’s the deal?” color commentary on the silliness of the quotidian struck gold in Seinfeld, comedians started to habitually appear…
Narrative video games have been an appealing cash-grab for years now, but the recent phenomenon of The Last of Us has made game adaptations hot…
Kurt Wimmer’s mirthfully overwrought Children of the Corn, a revamp of one of horror’s longest and least-consequential franchises, is more fun than it should be.…
For this writer, a personal cinematic pet peeve is when characters fire guns only for the bullets to seem to dissipate, never hitting anything. John…
Robert Zemeckis filmed What Lies Beneath, a ghost story set in a modern world, while on a break from Castaway, waiting for Tom Hanks to…
“…love must be regarded as one of the religious and dangerous experiences, because it lifts people out of the arms of reason and sets them…
It’s 1995, halfway through the decade and two years into the centrist liberal Elysian era of pre-blow-job Bill Clinton, a year in which Forrest Gump…
Kid A Mnesia is notable for its B-sides, deep cuts, and rough tracks, an opportunity for rediscovery that doesn’t disappoint. Around the turn of the millennium…
The latest live recording of A Love Supreme is a revelation, with Coltrane blowing the standards to smithereens. For decades, the only known live recording of…
Brian De Palma is the great voyeur, the plump-bellied pervert, of American cinema. His films have a singularly sleazy feel, gloriously gaudy and admirable in…
Though the films of John Cassavetes are often erroneously described as “improvised” or “verite,” claims that belie Cassavetes’s formal fidelity, it was a modernist, Virginia…
Lost Themes III is a true comfort listen, and the most cohesive collection of Carpenter’s original music to be released. Since The Ward flopped in…
“Movies don’t scare me” — said a straight-faced and stoical John Carpenter to Mick Garris in a 1982 television interview called “Fear on Film.” (Accompanying…
Lopatin’s patchwork panoply of snippets and songs in collision is kaleidoscopic, peaceful, and placating. The purloined production of Daniel Lopatin’s Magic Oneohtrix Point Never, “recorded”/constructed…