Thursday, 17 November 2016
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Welcome to Commentary Commentary, where we sit and listen to filmmakers talk about their work, then share the most interesting parts. In t...
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What is a “spiritual sequel”? Basically, it’s any work that seems connected enough to another but isn’t directly linked by characters or an...
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The train has stood the test of time as a storytelling device throughout pretty much all of film history. On screen, locomotion can propel n...
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It is time for the most important debate of our lives. Is Netflix really, truly good for cinema? In all honesty, there is no answer to thi...
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Kristin here: Flicker Alley continues to bring out an eclectic and unpredictable series of restored films, from French Impressionist class...
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We here at Film School Rejects love film festivals of all kinds, but if pressed I’d gleefully admit that genre fests — ones that celebrate ...
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Quentin Tarantino ’s films are often hailed for their quotable dialogue, wild violence, pop culture references, and eclectic ensembles compr...
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DB here: Wes Anderson is back on our blog. I composed a 2007 entry that tried to trace the stylistic tradition he belongs to (slogani...
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Watchmen (2019), Episode 7. DB here: If we want to understand the craft of filmmaking, we should pay attention to what filmmakers say ab...
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Michel Serrault, like his co-star here, Isabelle Adjani, used to be in everything. As ubiquitous as Depardieu. La cage aux folles might be...
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