David Lynch is to Cinema what Sam Shepard is to Theatre.
David Lynch is to Cinema what Sam Shepard is to Theatre.
Speaking of directors visually communicating an awareness of the cinematic manipulation at play in their movies:
Continue reading “Fare Thee Well”
Cinematically literalizing Freud = camp??
Body Double is the platonic ideal of Brian De Palma.
Continue reading “Stimulation, Manipulation”
A scene that personifies the Humphrey Bogart cinematic experience:
Continue reading “Bogartery”
When a movie inverts expectations, audiences should consider the implications of this formula reversal.
Continue reading “The Norms of Forms”
Some stray musings from my recent moviegoing rovings (and ravings):
Continue reading “Rounding Up”
Three of the most successful horror franchises in recent years all boast their own cinematic calling cards, each of which appear in every installment, each of which capture an essential element of what makes the horror of their respective series so horrifying.
Continue reading “Calling Cards”
Write All Nite’s commitment to chronicling the ever-evolving iterations of The Purge series continues:
Continue reading “The Purgers”
Remember when I wrote about how we can sometimes track a musical’s primary story through its utilization of a conventional two-act structure, specifically the self-dubbed Act One Fake-Out Anthem?
Continue reading “Another Fake-Out”