As a nerdy kid who wanted to be a film critic, I saw myself in Wilson’s unexpected comedy. But my favourite writer was destined to become a movie star.
The 1973 film Messiah of Evil doesn’t scare with monsters—it shows instead how horror can annex a place, compelling you to pass through familiar and traumatic rooms, dread gathering as your heel meets the floor.
Despite filming her last feature in the ’40s, Dorothy Arzner remains Hollywood’s most prolific female director—what does that say about Hollywood?
Like so many of her heroines, the director seduces to control.
East and West: the twin myths cast lasting shadows on the mind of the Apu Trilogy filmmaker.
Fifteen years after its release, Bend It Like Beckham is still an essential representation of South Asian teenagehood.
No other producer did for Columbia Pictures what Virginia Van Upp, one of Hollywood’s first female executives, did in the 1940s. So why did her influence slowly fade away?
During her brief ’80s reign as one of film’s biggest stars, Cher didn’t disappear into roles—she brought her indelible presence to bear on women thought to be invisible and cast them into the light.
What did it take for the most famous and widely read American film critic ever to hand out his lowest possible rating, issued only a few dozen times in a 10,000-plus review career?
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