In David Lean’s ‘Summertime’ Only the Dreaming Is Easy
David Lean’s Summertime emerged as Hollywood was negotiating how adultery could be handled. The tawdry subject became the province of only the classiest actors.
David Lean’s Summertime emerged as Hollywood was negotiating how adultery could be handled. The tawdry subject became the province of only the classiest actors.
Silent screen star Marion Davies makes these two restored films by directors George Hill and Sidney Franklin irresistibly delightful.
Director Jacques Audiard talks with PopMatters about straddling the divide between art and commercial cinema with his comedy/romance, Paris, 13th District.
Thomas Savage’s novel and Jane Campion’s film adaptation of The Power of the Dog depict the danger in Americans’ distrust of civic institutions.
Mini-series Pam & Tommy seeks to bring depth and humanity to its oft-ridiculed titular leads. But it nonetheless revels in their mythology.
Gary of Licorice Pizza behaves like all male characters from Paul Thomas Anderson’s gallery of sociopaths, except now the type is cast as a romantic hero.
The debate over whether the 2009 rom-com (500) Days of Summer is sexist is valid, but the filmmaking and acting are superior to its dull contemporaries.
Powell & Pressburger’s film version of Hans Christian Andersen’s “The Red Shoes” asks, is Art worth dying for?
Italian romance comedy Generation 56k toys with the timeline between instant and delayed gratification in the eras of the early internet and social media.
Tig Notaro and Stephanie Allynne’s coming-out Am I OK?, like its heroine, is messy, awkward, and eternally hopeful in the face of despair.
Jane Campion’s The Power of the Dog undermines “toxic masculinity” – a term that evokes the existence of alternative masculinities.
Frankenstein’s daughter, in modern parlance, is some kind of proto-“trans” creation of a woman’s mind within a patched-together male body. This is heady stuff.