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George Marshall's western spoof, Destry Rides Again, has a serious central premise; can society function without the threat of violence?
Telling the tale of the cyclops through the lens of high and low culture, in O'Brother, Where Art Thou? the Coens hammer home a fatalistic criticism about the ways that commerce, violence, and cosmetic Christianity prevail in American society .
Buster Keaton was aware that the camera can be a catalyst of violence, especially stereotypical violence, for audience consumption -- and that it could also evoke the shared joy of cathartic laughter.
Preston Sturges' The Lady Eve demonstrates that somewhere within the convolution of deception (self-deception included) lies a truth that persists all the same.
Armando Iannucci veers sharply from pitch-black satire to a more upbeat comedy with The Personal History of David Copperfield, starring Dev Patel as a hero who would have been eaten alive in Veep.
The pugnacious characters in Cassavetes' Husbands couch their inauthenticity in bullying. For them, anger is more authentic than placidity, rage more authentic than sadness, cruelty more authentic than kindness.
Amy Seimetz's She Dies Tomorrow makes one wonder, is it possible for cinema to authentically convey a dream, or like death, is it something beyond our control?
There's a song performed in James Whale's musical, Show Boat, wherein race is revealed as a set of variegated and contradictory performances, signals to others, a manner of being seen and a manner of remaining hidden, and it isn't "Old Man River".
It seems the entire Phillies team were just the patsies in Seinfeld's Magic Loogie episode. Let me demonstrate.
Drag superstar Trixie Mattel spills the beans on her new book and so much more. "It's a wonderful book. I'm ready to have my roller coaster at Universal Studios based on this book."
In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.
Arriving amidst the exhaustion of the past (21st century cultural stagnation), Waititi locates a new potential object for the nostalgic gaze with Jojo Rabbit: unpleasant and traumatic events themselves.
The Cameraman is Keaton's last great film, a jubilant, chaotic, and overactive silent romantic comedy that, intentional or not, doubles as a vision of the precarity of celebrity, independence, and artistry in the brutal Hollywood system.
Led by a misanthropic yet oddly charming performance from Jean Dujardin, Quentin Dupieux's take on the midlife crisis, Deerskin, gains power from the absurd and the enigmatic.
Judd Apatow's latest arrested development comedy, The King of Staten Island, is short on laughs and long on running time.
Alastair Sim belongs to those character actors sometimes accused of "hamming it up" because they work at such a high level of internal and external technique that they can't help standing out.
The sense of artifice in Wes Anderson's The Grand Budapest Hotel helped him create an alluring reverie of both color and meaning.
The first half of Deadpool 2, in which Vanessa is murdered and Wade becomes purposeless and suicidal, is a slog. The second half, where Wade commits to defending an angry teenage mutant, positively soars with fantastic action and some of the funniest superhero film moments in years.
Taika Waititi's Thor: Ragnarok takes a refreshingly iconoclastic approach to Thor, throwing out the old, bringing in the new, and packaging the story in a colourful, gorgeously trashy aesthetic that perfectly captures the spirit of the comics.
The imaginative filmmaker Karel Zeman influenced many artists including Terry Gilliam, Tim Burton, fellow Czech Jan Švankmajer, the Brothers Quay, and animator Lawrence Jordan's recycling of classic 19th Century imagery.
It's the little things that make and break marriages and movies. In the case of Baumbach's Marriage Story, it's 25 little things.
Yasujiro Ozu's films can often be described as movies in which nothing happens -- nothing except the revelation of a world, its inhabitants, and a deep understanding of their contradictions.
The bamboozle is on in silent films One a Minute and Bell Boy 13, starring comic actor Douglas MacLean.
Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.