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.
Author: Steven Strauss
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:
CapTooMany
Write All Nite’s coverage of Tom Hardy’s career continues with:
Why Resistible?
Fellow geese, let’s gander at how the powers-that-be have shlock-cast Rose Byrne — one of our most spastically-gifted comedic actors working today — since her triumvirate breakout in Insidious, Bridesmaids, and Neighbors.
Wretched Evan Hansen
A double feature where the connections between the pieces of art are too numerous and incidental to justify elucidating, but still amusing for the seven of us who’ve seen both:
High Society
Though satires predominately revel in tomfoolery, the genre can reveal core truths regarding what’s being satirized that often require the hysterical (both meanings) amplification of their bombasticity to detect.
Scorsese Shorts
A few thoughts on each of the early-career shorts by the eponymous director collected on the Criterion Collection’s brand-spanking-new Scorsese Shorts disc, ranked in order of personal preference:
Write All Nite 