I absolutely love Jack Nicholson. I always have. I love watching him perform, how he carries himself, his facial expressions the way he acts and the fact that he is almost always getting away with something in his films. I also like Diane Keaton a lot. She is a funny, down-to-earth, realistic actress with a ...
Independent film, despite its gritty, frustrating, compromise-laden nature has always appealed to a certain stripe of writer. It’s the idea of pushing the boundaries of cinema. Writing free of studio ideals. Saying something important or new or just plain cool. The irony, of course, is that in every form of screenwriting, there’s always a box ...
Jean-Luc Godard’s A bout de souffle, or Breathless, begins with a shot of a young Parisian looking at a picture of a beautiful woman while he wears a stylish hat and smokes a cigarette, reminiscent of Humphrey Bogart. From then on, we watch how the dissemination of cinema’s imagery and style causes people to “perform” ...
“Love means never having to say you’re sorry,” at least this is what Ali MacGraw’s character say in Love Story. But what if love means something else to another person? And what if it means two different things to one couple? And what does “Love means never having to say you’re sorry” mean anyway? To ...
In Criterion’s restoration of Fritz Lang’s marvelous film M (1931), Peter Lorre plays Hans Beckert, a serial killer of children on the loose in Post WWI Germany. The film isn’t a mystery because early on we learn Beckert’s identity. Instead, it is a thriller steeped in social commentary that is just as relevant today. The ...
The French New Wave (FNW) style of filmmaking that reached its height during the late 1950’s and early 1960’s was a revolution in cinema that sought to redefine conventions and standards of classical Hollywood cinema. In James Monaco’s article “The New Wave”, he states: The New Wave filmmakers were all – in different but parallel ...
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