At Bond Vivant, Cultural Gutter Editor Emeritus Keith Allison writes about “the sound of spying” and James Bond cash-in albums. “When the Bond films proved runaway successes in the 1960s, hundreds of movies were made in dozens of countries, all looking to cash in on the same basic […]
At Vulture, Bilge Ebiri shares some of the best car movies ever made. “This list of movies is quite eclectic—it includes gearhead classics, cult standbys, noirs, modern blockbusters, art-house favorites, and even some genuine obscurities. Along the way, it became clear to us that a “car movie,” more […]
At RogerEbert.com, friend of the Gutter Jessica Ritchey writes about “cocaine noir.” “Between the winding down of the first neo-noir cycle popularized by New Hollywood titles like Chinatown and The Long Goodbye, and before the rise of the erotic thriller as a recognizable genre with entries like Fatal […]
At ArtForum, Chloe Wyma writes about artist Leonora Carrington’s Tarot. “Carrington made The High Priestess, one of only two cards to have been dated, in 1955, around the same time she and her friend Remedios Varo were haunting the metaphysical clubs established by the disciples of Russian mystics […]
At Roger Ebert.com, David Moses writes about Apollo Creed. “[Rocky] was never truly an underdog—that is the fantasy of the Rocky movies, a series that plays in a vacuum breathing off the air tube of white victimhood, while shutting out real world complications and well … facts. Facts […]
At RogerEbert.com, Matt Zoller Seitz writes on the life and career of Clarence Williams III. “His ferocity burned holes in the screen, and filmmakers took advantage of that, casting him in roles that shook up the main character’s preconceived notions, rattled their complacency, and otherwise pushed their buttons.”
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