A pictorial double-feature joke — not to be mistaken for a joke double-feature, nor a joke of a double feature — that three of you will understand:
Continue reading “A Double-Feature Joke (Not the Other Way Around)”
The Spoiled Bird
Rarely do I read about a movie before writing about it.
Two More Birds
Here’s one more pro and con — depending on your perspective — to the theatrical vs. home-viewing debate that occurred to me post-posting on Friday:
The Trapped Bird
As with every discussion that tries to adjudicate the pros and cons of the theatrical-vs.-home viewing experience, what I’m about to discuss is wholly subjective, steeped in nothing more than personal preference, even if others might relate to the feeling.
Missing from the Log
Speaking of Dekalog, where’s our 21st century Dekalog??
One Pairing for Each Eye
Two examples, each anchored around Eyes Without a Face, of how the ordering of a double feature can change how the viewer sees the second movie.
Howdy, Pardners
Speaking of McCabe & Mrs. Miller, here’s a cross-century scene comparison between westerns of a different color, anchored by a similar leading presence:
The Future of Broadway
Look what waltzed across the ticker this morning:
When It Comes to Character-as-Theme Titles, Robert’s the Altman
Pair McCabe & Mrs. Miller with 3 Women for a Robert Altman double-feature of titles that center characters who would otherwise be considered mere supporting players.
Continue reading “When It Comes to Character-as-Theme Titles, Robert’s the Altman”
Hunk and Junk Rhyme for a Reason
A thought inspired by a recent debate between myself and a friend regarding the unspecified reason(s) Liza Minnelli’s character in Martin Scorsese’s New York, New York is attracted to Robert De Niro’s brutish saxophonist:
