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:
Category: Remember All the Movies, Terry, We’d Go See
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:
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:
