When 20th Century Fox bought the rights for a new anamorphic lens technology in 1952, whose origins dated back to a 1926 process called Anamorphoscope,…
Confusing glibness for frothy irreverence, Greg Berlanti’s Fly Me to the Moon primarily caters to two long-underserved segments of the audience: those yearning for the reemergence…
There comes a time when you just can’t swallow the bitter pill of reality; you have to crush it up, mix it in with some…
As the 1950s progressed, Nicholas Ray found himself in an increasingly precarious, even fraught relationship with filmmaking. He directed 14 films in 10 years, a…
Ridley Scott is 85 years old and has directed, among other things, four feature films in the last five years, one of which was heavily…
Historically held in low-regard, the coming-of-age comedy (or, to be less discrete, the teen sex comedy) has long served as a useful snapshot of the…
“Telling the truth can be dangerous business,” sing Lyle (Warren Beaty) and Hawk (Dustin Hoffman) in Ishtar (1987), words that seem especially true for Elaine…
Bullet Train is an wholesale derailment, an inane, ’90s-styled crime caper built on comedy that isn’t funny and action that’s plagued by godawful execution. Early…
The American cinema of the 1970s is a deep, deep well of intersecting delusion and pyrrhic victories, though hindsight has made it so that’s it…
Saul Bass’ poster for Otto Preminger’s Advise & Consent (1962) shows the dome of the Capitol neatly dissected from the building itself, the title emerging…
The labyrinthine social hierarchies of David Fincher’s The Social Network facilitate a narrative pinball game; competing male egos, hidden agendas, brooding desires, and palpable anger…
Redundant conversations about celebrity culture and nauseating puns about table seasonings are inevitably attached to an Angelina Jolie film entitled Salt. A mix of trite…
The International, the new thriller from director Tom Tykwer, could have been dismissed as an easy knee-jerk reaction to our current economic crisis, but the…