French Pop Cinema of the 1960s Brings Tintin to Life Twice Over
Tintin is one of the secret engines of 20th Century pop culture in Europe and Hollywood, as shown in these James Bond-like movies for the elementary school crowd.
Tintin is one of the secret engines of 20th Century pop culture in Europe and Hollywood, as shown in these James Bond-like movies for the elementary school crowd.
Sixties sexy Italian Space Opera had a budget as skimpy as the costumes and the actors play the high-pressure take-offs as though they’re all mid-orgasm.
Pee-wee Herman forever lives in a cosmos without a supernatural giver of laws. In such an existentialist world, Nietzsche says, we must be like children and invent a world of meaning, lest we be consumed by the great void.
Barbiecore might be more than a summer phase. The Barbie movie has some women thinking it’s time we rocked the pink in corporate-world fashion.
The pink fashion in the Barbie movie may seem like feminism, but if you squint deeper into the pinkwashing, you’ll spot some loose threads that you just have to pull.
The action in Mission Impossible: Dread Reckoning, Part One merely updates director John Glen’s James Bond set pieces from a more primitive time in cinema: the 1980s.
Indiana Jones and the Dial of Destiny should have taken a thoughtful approach to Harrison Ford’s aged hero, as James Mangold did in the superior Logan.
The story that takes up most of The Flash’s running time is about something that never happened, and worse, the film skips over the hard part of multiversity storytelling.
Hideo Gosha’s Samurai Wolf films contain scenes and elements that feel like nods to Akira Kurosawa.
The Three Musketeers: D’Artagnan lacks the literary poetry and grace of Dumas’ sprawling novel, but Martin Bourboulon’s iteration honours its spirit.
Hugo Fregonese’s 1962 Italian-French production of Marco Polo is a film whose history is more twisty than the spaghetti Marco Polo discovered in China.
The 1954 Hollywood adventure film Secret of the Incas may have a whiff of Indiana Jones about it to contemporary viewers, but it’s better than expected for a film that’s almost been buried in a tomb.