Features
In our latest installment of Screenplays With Unconventional Connections, we compare Eminem’s 8 Mile to Prince’s Purple Rain.
If you let yourself think about all the unknowns in the world, it can bring on a strange, existential panic, one that Upstream Color captures in a beautifully unnerving way.
Showgirls, by any measure, epitomizes every tenet of arthouse cinema. Showgirls belongs on a shelf alongside Andrei Rublev, The Seventh Seal, and The Passion of Joan of Arc.
Not only does 2010’s The Wolfman show us Sir John Talbot in a new, critical light, it reveals a corrosive ideology underneath a great, genre-defining film.
William Hopson explores how Alan Silvestri’s score proves to be manipulative in the best possible way in Forrest Gump.
A storyteller’s greatest responsibility is societal critique, and The Wire is a prime example of how to fulfill that role.
Growing up outside of the US, Sean Fallon reflects on learning about the empathetic Mr Rogers through Marielle Heller’s acclaimed film.
There really isn’t much subtlety to a boy-meets-girl story in which the girl has the ability to literally part the clouds and stop the rain.
We salute Rudy Ray Moore, who had a wild idea, got his pals and like-minded folks together, wrangled some money, and went out to make a movie.
There was truly no better way for the night to wrap up than with Bong Joon-Ho and Parasite making history.
The prestigious Academy Awards have been handed out to deserving participants and with that another year of celluloid excellence has come to a close.
Bong Joon-ho’s Parasite made history by winning both the Oscars for Best Picture and Best International Feature Film. But why exactly is this such a big deal?
WOLFEN: Horror, Capitalism & The Environment
Watching Wolfen in 2020 is like opening a time capsule full of predictions that have all come true.