“Le Samouraï, c’est moi”: Edward Chisholm uncovers the details behind an unsolved murder that swept up one of the century’s most enigmatic actors
Delon was, finally, the auteur of his own life.
Too much is never enough: David Ellison’s debased idea of culture
What you shouldn't expect from an Ellison-run mega-studio is anything resembling serious, intelligent films for adults.
An offer you can’t refuse: One of America’s leading film critics re-evaluates his beloved medium
It's not violence or morbid subject matter per se that bothers Thomson, but our collective response to this material.
“They’re coming for you”: Pulitzer Prize winner Daniel Kraus dissects – in minute detail – the film that made a huge impact on him as a writer and viewer
Kraus provides such a deep dive that even people who have seen the film multiple times will find something new to discover in his text.
Trad wives and demon children: Eleanor Johnson examines the ways in which 1970s horror films dovetailed with 2nd wave feminism
Rosemary's Baby provides an entrée for Johnson to discuss five other films she collects under the umbrella of what she refers to as "domestic horror."
Gail Crowther’s latest volume examines the underappreciated legacy of Dorothy Parker’s time in Hollywood
One thing Crowther does accentuate is Parker's versatility.
Bestselling author Stephanie Wrobel talks about plotting, the difference between suspense and surprise, and the influence of one of cinema’s masters on her latest novel
"I don't think any of us are 100% good or 100% bad. And I think it's kind of boring to portray characters that way."
Hunger, anxiety, and pain are among the human drives horror addresses, according to Anna Bogutskaya in Feeding the Monster
At its best, horror has always skirted an anarchic or illicit sensibility.
The horror! The horror! Why do so many people who write about the genre seem not to understand – or even much like – it?
It would be salutary if writers addressing the genre would cease treating it as though it has been relevant for only the past ten or twenty years.
Every movie a sequel: A corporate history of Marvel Studios proves frustratingly uncritical about what the company’s dominance means for pop culture
There is a wealth of behind-the-scenes information on offer in MCU.