‘They Made Me a Criminal’ and the Persecution of an Innocent Star

Beyond the Classics is a bi-weekly column in which Emily Kubincanek highlights lesser-known old movies and examines what makes them memorable. In this installment, she investigates the origins of film noir with John Garfield in Busby Berkeley’s They...

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The Best Home Video Releases of the Year

The word on the street continues to be that streaming is the future and physical media is on death’s door, but don’t tell that to the numerous home video labels and millions of consumers. Studios are still releasing their films to Blu-ray, DVD, and 4K UltraHD,...

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The Identity Crisis of Internet Horror

Welcome to The Queue — your daily distraction of curated video content sourced from across the web. Today, we’re watching a video on how two very different films, Pulse and FeardotCom, epitomize the early days of the internet horror subgenre. From atomic behemoth...

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Tradition of McCarthy/Falcone Misfires Continues in ‘Superintelligence’

If nothing else, it takes real guts to unironically name your fairly stupid comedy Superintelligence. You’re asking for trouble with a title like that, but while there are moments that work in the latest feature from director Ben Falcone and star Melissa McCarthy,...

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Kathy Bates is the Face of Toxic Fandom in ‘Misery’

Acting is an art form, and behind every iconic character is an artist expressing themselves. Welcome to The Great Performances, a bi-weekly column exploring the art behind some of cinema’s best roles. In this entry, we explore Kathy Bates’ terrifying superfan...

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No Way Back: How They Shot the Bridge Scene in ‘Sorcerer’

Welcome to How’d They Do That?, a bi-monthly column that unpacks moments of movie magic and celebrates the technical wizards who pulled them off. This entry explains the making of the scene in William Friedkin’s ‘Sorcerer’ where two enormous trucks cross a rotting...

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Good News is No News: The Corruption of American Media in ‘Ace in the Hole’

Welcome to The Noirvember Files, a new series dropping the spotlight on essential film noir selections. The titles celebrated here exemplify the style and substance of cinema’s grimiest, most-relatable underbelly. In this entry, we’re digging into Billy Wilder’s...

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David Fincher’s Long and Winding Road to ‘Mank’

To lay the groundwork of any discussion of David Fincher and his films, I’m tempted to paraphrase the opening voiceover from Gone Girl and imagine what it would be like to unspool the director’s brain in an attempt to get answers. Fincher is known as something...

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