“Strip away the phony tinsel of Hollywood and you find the real tinsel underneath.”

|Bob Aulert| – Oscar Levant. In the realm of meta-cinematic narratives, few films have achieved the level of sharp satire and self-awareness as Robert Altman’s 1992 film The Player. It’s a two hour long “Fuck You” from Altman to the mainstream film industry; a scathing commentary… Continue reading

Touch of Evil: At the Border of Truth

|Yuval Klein| At the Mexico–U.S. Border, gangsters and police animate a caustic criminal underbelly. The protagonist, Mike Vargas, is a respected Mexican criminal prosecutor who crosses over to his American newlywed’s home country at the precise moment of an… Continue reading

Arica, mi Amor: Cine Chileno y La casa lobo

|Finn Odum| I. Gringos en Arica. The first of my three weeks in Arica, a city on the Chilean-Peruvian border, was spent in a beachside hotel. We had free breakfast in the mornings, a pool overlooking the ocean, and most importantly, a bar just a five-minute walk away. Many of us were… Continue reading

A Phenomenology of the East Coast: Sidney Lumet’s The Verdict

|MH Rowe| As quiet and downbeat as it is—as suspicious of institutional authority as it is—The Verdict (1982) is not quite the post-Watergate courtroom drama it appears to be. It traffics instead in a variety of chastened heroism, the kind that comes from finding out that… Continue reading

Four “Fuckin A!” Moments in Action Movie Music

A fire-filled background with human silhouettes flying through the air. The middle of the image holds "'80s Action Extravaganza" in red bold letters.

| Matthew Tchepikova-Treon | Beyond the hardbody brass hits, kettle drums, soaring guitars, and motoric basslines (that nowadays punctuate every last over-edited theatrical trailer to death), action movie music comes in many forms. In the 1970s, performers like J.J. Johnson (Across 110th Street), Johnny Pate… Continue reading