After seeing Inception for the first time in the summer of 2010, Christopher Nolan quickly became my favorite director. Although my enthusiasm has waned over the years, as his films have grown less character driven and more spectacle oriented, I still have a certain fondness for earlier works like Memento.
It's incredibly difficult to make thrillers and horror films that revolve around technology. Those genres thrive off providing audiences with a universal experience they can relate to, and technology is constantly advancing to the point where a film may be of its time for a brief moment before looking dated in the future...
When did we collectively decide that summer moviegoing should be franchise fare only? Aside from the odd comedy or rare sleeper hit, there’s been this horrible recurrent trend that the summer movie session is ripe for every manner of sequel, prequel, remake, reboot, and intellectual property to dominate the box office. The problem is, these films are becoming increasingly unsatisfying and they never quite feel like the kinds of big crowd pleasers that will stand the test of time.
Orson Welles’ The Lady from Shanghai begins with the sea, roiling and foaming beneath the opening credits. Many films noir are laden with existential anxieties; indeed, fatalism and cynicism are as commonplace in the genre as stylized lighting, bantering innuendoes, and convoluted crimes.
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