A few lingering questions
As I get ready to graduate, I have some lingering questions about Colby.
As I get ready to graduate, I have some lingering questions about Colby.
Hugo is a jarring departure from Scorsese’s filmography—it’s a children’s movie with lots of tenderness and without any blood-soaked murder montages choreographed to The Rolling Stones.
As you may be aware Senior Planning Board Inc. has been hard at work conducting market research on how to better satisfy customers of the Last Chance Dance.
Something phenomenal is afoot. It’s a personal revelation.
Film reboots can stink in the same way personality reboots do. The ones that kill their past just don’t work.
While many people may associate the show with Don Draper and his infidelity—or basically the rampant bad behavior of the men on the show—it’s crucial that Mad Men is a show that examines honestly and painfully the root causes of this particular strain of all-American masculine ugliness.
So, we used the Delorean to track down Bill and Ted, who let us borrow their phone booth. We dialed in the digits of some highly anticipated films and decided to share some of what we saw.
The Rum Diary, directed by Bruce Robinson and starring the uncanny Hunter S. Thompson stand-in Johnny Depp, failed to bring the unique qualities of the book to the silver screen.
Once, in Mrs. Bowden’s fourth grade class, huddled beneath a desk during reading hour— endlessly solitary, but not uncomfortable—I conceived an idea for a novel of immeasurable genius.
Woody Allen would call himself the most derivative, referential director working today. So, it should be no problem discerning what may have led him to make Midnight in Paris.
Whether or not you respond to their movies, Spielberg and Abrams are sentimental and optimistic filmmakers: their enthusiasm for their work shines through the best of their films.
The Kids Are All Right comes from a tradition of films that calls into question – either explicitly or implicitly – the strict definitions of sexual attraction and gender that dominate conventional thinking.
The Coen Brothers usually make films with their own flavor, and sprinkle in the spice of director’s long past. With True Grit, it is the opposite; they have made a film using the flavors of the director’s long past, with mere hints of their own spice.
Our goal is to give the reader reference points for his or her favorite movies, in order to help spark an interest in film history. We will discuss the antecedents of a popular movie in reverse chronological order–working backwards through film history. This week, we will focus on Inception.
We foolishly choose to accept the stagnation of a culture that thanklessly reuses the past.