John Ostrander writes about the upcoming animated feature of The Killing Joke, his reaction to the assault on Barbara Gordon and his and Kim Yale’s reinvention of Barbara Gordon as Oracle. “The last story that Kim and I worked on together before she died was Oracle Year One, drawn by the wonderful Brian Stelfreeze. We showed that year as Barbara made the transition from broken hero to dynamic Oracle. She became a strong and much loved icon for the disabled community. In making her a hero again, Oracle allowed others to heal with her. The reader healed with her.” (via @profmdwhite)
At Graveyard Shift Sisters, Ashlee Blackwell considers love in Ganja & Hess. ” It is up to the viewer to map a path that suits their understanding. What writer/director Bill Gunn (who plays Dr. Hess’ assistant) wanted was a disruption of mainstream fare. Gunn didn’t seem too interested in what Hollywood desired, and like many […]
At Die Die Danger Die Kill, Todd thinks about Karel Zeman’s Vynalez Zkasy. “Vynalez Zkasy (released in the U.S. as The Fabulous World of Jules Verne) may represent Czech FX pioneer Karel Zeman’s quest to emulate the style of 19th century fantasy illustration—to the end of presenting the future through a Victorian lens—at its most […]
At Movie Morlocks, Kimberly Lindbergs writes about composer Elisabeth Luytens on the 106th anniversary of Luytens’ birth. “Much of Lutyens music, particularly later in life, is rather dark, jarring and cinematic. Her background in Theosophy and Eastern mysticism is apparent in the otherworldly atmosphere conjured up by her film scores and is also evident in […]
Dylan Marron has made a series of videos based on every word spoken by a person of color in various films, including Moonrise Kingdom, Her and Into The Woods. “Marron, a biracial native of Venezuela who grew up in New York, started the video series to figure out why so few people of colour are […]
The Projection Booth interviews actor Ed Asner.
Transcript from BAFTA’s tribute to director Johnnie To, “Johnnie To: A Life In Pictures.” It’s a great interview with To about his films and process. “Like when I made The Mission I didn’t have a script. It was 1999 and I didn’t have any money so we went to Taiwan and they gave us very […]
At the Guardian, Xan Brooks interviews John Boorman, director of Point Blank (1967), Deliverance (1972), Zardoz (1974), Excalibur (1981) and the upcoming, Queen & Country. “If he could rewind to 1952 and reprise the entire trip, he cannot imagine exactly what he would change. Boorman frowns. ‘Actually, I can’t even contemplate it. I’m a completely […]
This month’s Guest Star is the Gutter’s own Carol writing about the Mario Bava film, Danger: Diabolik. Holy cats, how’d that happen? My town has basically one landmark, you know the kind of thing people passing through take pictures of. It’s a water tower. An incredibly phallic water tower. It’s like a classical Hindu lingam. […]
“Here are just a few other classic movie antagonists who we root against not because they’re wrong per se, but mostly because they’re just not as likable as the characters who carry the movie. Let’s call it ‘The Iceman List.’” Read more of Tim Carmody’s “The Iceman List” here.
At Every Frame A Painting, Tony Zhou takes a close look at the action comedy of Jackie Chan.
In “The Marvel-Industrial Complex” James Rocchi has some thoughts about Disney’s Marvel movies–and some things to say in response to the responses to his essay. “In the ’80s, Spiderman told me that with great power comes great responsibility; Marvel Studios, via Disney, has money and power both, and we’ve given it to them; as consumers […]
This week, our friends at The Projection Booth discuss “George Lucas’s Star Wars (AKA Star Wars Episode IV: A New Hope), the sci-fi film from 1977 that has been rendered unavailable in its original form due to its creator’s tampering.”
Speakeasy Radio hosted an tweetalong of The Company Of Wolves followed by a short podcast where Prof. Kate Laity, Ms. Angela Englert and the Gutter’s own Carol discuss the film, author Angela Carter and werewolves. Listen to the episode of Speakeasy Radio here and see all the tweets here.
Minoru Kawasaki’s Neko Ramen Taisho (2008) is the classic story of a son trying to prove himself to his father and his father’s desire to recreate his son in his own image. Except Taisho, aka William Thomas Jefferson III, is a cat who makes ramen, and his father, William Thomas Jefferson II, is a “cat […]
At Multiglom, Anne Billson writes about Billy Wilder’s The Private Life of Sherlock Holmes and “The Bitter Tears of the Private Detective.” Last week I went to see Billy Wilder’s The Private Life of Sherlock Holmes again. And once again, as I dabbed my eyes with a hanky, I was intrigued and beguiled by the […]
At Chhotahazri, Trisha Gupta considers why people resist subtitled films. “I see subtitles as giving me access to a world I wouldn’t otherwise enter – but like a polite, well-spoken guide, providing commentary unobtrusively, not drowning out the voices of the locals.” (via @bethlovesbolly)
On The Media dedicates an hour to the true crime genre.
Graveyard Shift Sisters reviews Adilifu Nama’s Black Space: Imagining Race in Science Fiction Film and looks at the history of race in science fiction films from teh 1950s to the present. “Adilifu Nama concocted a thorough read that blends a critical look at science fiction cinema’s milestone works in conjunction with American sociopolitical history, specifically […]
There’s a fine piece at Nitrate Diva about the 1935 film, Kongo. “In this monument to morbidity, nearly all the taboos festering at the edges of pre-Code cinema come out and play: blasphemy, drug addiction, prostitution, torture, slavery, bestiality, and (spoiler alert!) incest. The movie positively wallows in depravity. Degradation is its subject, its project, […]
At Hyperallergic, Jeremy Polacek writes about the history of Afrofuturism and the Brooklyn Academy of Music’s exhibit, “Space Is The Place: AfroFuturism On Film”: “Afrofuturism is an empowering rubric, an approach and aesthetic that clarifies and connects history and the hope, creativity, and pain there within. Afrofuturism is wry, wise, and leveling — it believes that a brighter, more […]keep looking »