Kate Conway writes about how powerful she found the Women Who Kick Ass Panel in San Diego Comic-Con’s Hall C. “These dudes onstage weren’t selling themselves to me; they didn’t even care what I thought. Here we were, in the biggest room at Comic-Con, and I only felt […]
Kenneth Anger talks about making Lucifer Rising (1966): “I used a bit of deception to film it in Egypt. I said I was doing a documentary on ancient Egyptian beliefs and needed to film in the actual settings: in front of the Sphinx, at Karnak, along the Nile […]
Scott Nye writes about plot holes, deflection, and characters explaining for the audience at Ebert.com‘s “Balder & Dash” blog: “Characters must constantly address questions on behalf of a too-curious audience awash in complexly-plotted mega-stories. The movies are trying to plug leaks in a boat before the whole thing […]
It turns out there’s a reason why movies are starting to feel the same: “Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. […]
“The Wire, he said, was essentially a Greek tragedy.” More on that and on the way the story bled into reality at Slate.
The Ferroni Brigade considers how Lau Kar-Leung brought comedy to kung fu as well as scrutinized the kung fu film tradition that had come before him. David Bordwell writes about Lau and how sometimes stylized action captures the real better than “realism.”
Find t-shirts, mugs, totes and more at our new Guttermart location at Teepublic!
