In their time, “Jaws” and “Nashville” were regarded as Watergate films, and both were in production as the Watergate disaster played its final act.
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Death Proof
With ‘Once Upon a Time… in Hollywood,’ Quentin Tarantino slakes his thirst for nostalgia while he plays god with another piece of history.
The Erotic Thriller’s Little Death
What/If references the celebrated steamy genre of the 80s and 90s, but lacks its guts. Why can’t any of the new neo-noirs go all the way?
Recalling the Making of ‘Go,’ 20 Years Later
Director Doug Liman and screenwriter John August look back on the production of their indie film Go, 20 years after its release.
Don’t Let It ‘Go’ Away: The Frantic, Furious Making of a Cult Movie Classic
Twenty years after its release, director Doug Liman, screenwriter John August, and others recall the production of their 1999 indie film Go.
The Great Star Wars Heist
In 2017, the theft of a rare toy, a Boba “Rocket” Fett prototype that was never released for sale, rocked the Star Wars collecting community.
Why Do the Oscars Keep Falling for Racial Reconciliation Fantasies?
The relationship is entirely conscripted as service and bound by capitalism and the fantastically presumptive leap is, The money doesn’t matter because I like working for you. And if you’re the racist in the relationship: I can’t be horrible because we’re friends now.
Hollywood and the New Female Grotesque
Actresses are being lauded for pushing their supposed undesirability to the extreme, and it’s redefining how we see women.
‘It Happened to My Father the Way It Happened’: The Truth About Green Book
At Vanity Fair, film critic K. Austin Collins explores the shaky “true story” of Green Book, the film by Peter Farrelly starring Viggo Mortensen and Mahershala Ali.
The Truth About Green Book
Peter Farrelly’s Green Book, a “true story” about an Italian-American bouncer who escorts a black pianist on a tour of the Jim Crow South in 1962, is emerging as an awards season frontrunner. But the family of the pianist, Dr. Shirley, has dismissed the film, not just for its factual inaccuracies, but for essentially revising and rewriting […]
