Bringing Out the Dead is so similar to Martin Scorsese’s 1976 masterpiece Taxi Driver, so blatantly a spiritual successor, that the two should be required viewing as a double bill. Replacing Travis Bickle, the volatile, traumatized war veteran cab driver is Frank Pierce (Nicholas Cage), a third shift paramedic racing down the same streets that Bickle prowled after […]

In a studio climate where most of the output is polished and pressed for inoffensive and familiar, King Arthur feels like, at times, a breath of fresh air. I say, “at times” because much of the film is still mired in studio meddling and warring with its director, Guy Ritchie, whose knack for blue collar, cockney cool finds […]

After two Fleming-faithful Terence Young helmed pictures, director Guy Hamilton took over for 1964’s Goldfinger; which is perhaps the most acclaimed, and certainly the most influential, 007 film of all-time. With a substantially larger budget and director change, Goldfinger shaved away some of the harder thriller elements of Young’s films in favor of blockbuster spectacle, and under Hamilton’s […]

The year is 2029. The world is in a state of decay and decline. The X-Men are long gone. It’s telling that the film is set primarily in a desert, with Logan himself living in a self-imposed exile south of the border, in a shelter harboring two of the remaining known mutants (“Professor X” and […]

Although some considerable time has passed since my initial viewings of these movies, preventing me from confidently writing an individual post for each, I wanted to take at least a little time to highlight just what makes three of last year’s best films so great. MOONLIGHT (2016) Like all great poetry, Moonlight finds its universal impact and […]

Probably the most explosive, high-energy film ever made about something as seemingly pedestrian and banal as the newspaper. Samuel Fuller’s passion-project (he was a journalist himself before becoming a filmmaker) clocks in at just over 80-minutes – not a single frame is wasted. Gene Evans’ Mitchell forms his own newspaper, The Globe, and quickly comes into […]

The magical and the mundane: right from the (brilliant) opening shot, in which the camera glides past a row of cars in a traffic jam, each emitting the drone of a news station or bumping a hip-hop song, writer/director Damien Chazelle both juxtaposes and intertwines the two. The opening changes from a low, slow camera […]