Hallelujah (King Vidor, 1929). Hampered by problematic stereotypes imposed by studio leadership that was otherwise unwilling to fund a production featuring a cast entirely comprised of Black performers, Hallelujah nonetheless provides a hint as how different the Golden Age of … Continue reading Then Playing — Hallelujah; Ghostbusters: Afterlife; Villain
The Final Girls (Todd Strauss-Schulson, 2015). This send-up of horror films — with special satiric sanctimony leveled at the slasher films of the nineteen-eighties — can’t help but draw comparisons to similar efforts in recent years. And already muddled film … Continue reading Playing Catch-Up — The Final Girls; Baby Face; Lightning Strikes Twice
Chronicle (Josh Trank, 2012). Chronicle is good enough to almost–almost–redeem the increasingly tired found footage subgenre. This is in part due to the especially clever use of the footage, drawing it from a variety of sources rather than relying on one dedicated amateur documentarian who keeps the camera running no matter what level of craziness is happening (although the film inevitably must rely on that conceit more than is ideal). Security cameras, police car dashboard cams and other fully believable devices provide all the material that’s stitched together into a narrative. If physics-defying mayhem were happening outside of a upper … Continue reading Burton, Keaton, Preminger, Trank, Vidor
Coffee for Two 