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:
Rarely do I read about a movie before writing about it.
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.
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.
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.
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: