Critics have missed some thematic points that are worth exploring to further illustrate the worthiness of Coppola’s still-undervalued character study.
Side Shots Film Blog
As Wood noted frequently, genre is largely based on ideology; it’s fostered through popular entertainment and in the film, directly stated by the chief.
As in life, some promises are hard to keep onscreen. This is true in the case of Walter Hill’s cult pic The Warriors.
The food science/health documentary Fat, Sick and Nearly Dead makes the filmmaker-subject motif – in which the man behind the camera spends as much time in front of it – appear to be the norm.
At a fundamental level, 13 Assassins dramatically illustrates the deadly nature of conflicting political loyalties.
Sadly, it’s been a while for Alexander Payne.
No one would argue with calling this massive, invaluable tome “exhaustive,” though there might be a few who would squawk with using the word “definitive.”
One of the first exploitation films to be shown endlessly during the early days of cable, 1980’s The Exterminator is also one of the more grim entries in the genre. Gory, jaded and ambivalent on the merits of the vigilante, it anticipated Bernard Goetz by a few years.
Picture this: a secluded scientist waits in a checkout line for his new love interest to return with an item. An unusual pickup for him, she had invaded his radio interview about bird flu (he’s an expert) and then asked him to bed when they had drinks.
Memory is only important to the living; preservation of art or artifice, while living, is only preparation for possible legacy.
Antonio Pietrangeli’s 1960 film Adua and her Friends (Adua e le Compagne) explores the end of an era and points to future cultural upheaval.