Steven Soderbergh’s third film, King of the Hill (1993), which followed his tremendously successful debut sex, lies, and videotape (1989) and his near-career imploding Kafka (1991), is a film unlike any other in his filmography. For those critics who chastise the […]
By Drew Morton Being a Film Studies academic can be a blessing and a curse. It’s a blessing because I’m fortunate enough to get paid to teach film history and popular culture courses and to […]
By Drew Morton Michael Mann’s Thief (1981) — his theatrical debut — not only expresses many of his preoccupations on a small canvas but stands as one of his best films. An auteur of masculine […]
Despite studying film for more than a decade, I had never seen Robert Altman’s Nashville (1975). This should not be interpreted as a disclosure of neglect or ignorance. Instead, it was because I felt like […]
John Cassavetes followed up his stunning achievement A Woman Under the Influence (1974) with a radical shift in direction. The Killing of a Chinese Bookie (1976), released two years later in a 135 minute edit, pulled from […]
Over the past couple weeks, we’ve dissected the first two films in the new Blu-Ray reissue of Criterion’s John Cassavetes: Five Films. I noted in my review of Faces (1968) that most viewers will need a couple days […]
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