By the mid-60’s, the standard that had been established for sitcoms in the previous decade—portraits of nuclear-family coziness—had largely given way to gimmickry and weirdness. The shows were about hillbillies transplanted to L.A., a Martian posing as a bachelor’s uncle, a talking horse, a genie in a bottle and a man whose mother is reincarnated Read More
Studios almost never admit to being wrong. So Warner Bros.’ decision to release John Huston’s Reflections in a Golden Eye in its original tinted version is not only a major act of restoration, but a major act of humility. (The film is available as part of the new Marlon Brando Collection, which also includes Brando’s Read More
Studios almost never admit to being wrong. So Warner Bros.’ decision to release John Huston’s Reflections in a Golden Eye in its original tinted version is not only a major act of restoration, but a major act of humility. (The film is available as part of the new Marlon Brando Collection, which also includes Brando’s Read More
The poster for Reds, Warren Beatty’s 1981 epic about American radicals in the early 20th century, has a single, striking image: a couple embracing at a train station. It’s not the summation one would expect of a 194-minute film that spans half a decade, globe-trots through more than a dozen countries, and wrangles an ensemble Read More
The poster for Reds, Warren Beatty’s 1981 epic about American radicals in the early 20th century, has a single, striking image: a couple embracing at a train station. It’s not the summation one would expect of a 194-minute film that spans half a decade, globe-trots through more than a dozen countries, and wrangles an ensemble Read More
Everyone remembers the blowhard on the movie line in Annie Hall. But almost nobody remembers that some of what he says is right.
“We saw the Fellini film,” he begins, and forget the blather about La Strada being a great film for its use of “negative imagery” (whatever that is). The cineaste showboat’s complaints about Read More
Everyone remembers the blowhard on the movie line in Annie Hall. But almost nobody remembers that some of what he says is right.
“We saw the Fellini film,” he begins, and forget the blather about La Strada being a great film for its use of “negative imagery” (whatever that is). The cineaste showboat’s complaints about Read More
Her shoes should have warned him. The shoes that Barbara Stanwyck’s Phyllis Dietrichson wears in the 1944 Double Indemnity—pumps with an unsightly ruffle of tulle on the toe, bedroom slippers with a puff of marabou—tell you everything you ever need to know about her, everything that her patsy-in-waiting, Fred MacMurray’s Walter Neff, misses.
As femme Read More
Her shoes should have warned him. The shoes that Barbara Stanwyck’s Phyllis Dietrichson wears in the 1944 Double Indemnity—pumps with an unsightly ruffle of tulle on the toe, bedroom slippers with a puff of marabou—tell you everything you ever need to know about her, everything that her patsy-in-waiting, Fred MacMurray’s Walter Neff, misses.
For a certain generation, the films of John Hughes were a perfect pop-culture mirror of what it meant to be a teenager. Or at least they seemed like reflections. If your own high school wasn’t quite so easily divided into castes, if your town didn’t have a record store that stocked British imports, if your Read More
