The Masque of the Red Death (1964) — Movies Unchained

If you long for something that occurred at the perfect intersection between sanctimonious morality tale and harrowing existential horror, you’d probably find Roger Corman’s adaptation of Edgar Allan Poe’s The Masque of the Red Death delivers exactly what you’re looking for. To describe this film is to attempt to put a saddle on one of […]

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Vera Drake (2004) — Movies Unchained

The cinema of Mike Leigh has always been something I’ve been so deeply fascinated by, with his work being pivotal in my development to truly appreciate the art of filmmaking. One of the first encounters I had with Leigh was when I stumbled upon Vera Drake just after its initial release. Too young to fully […]

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The Servant (1963) — Movies Unchained

“He may be a servant, but he’s also a human” These words occur at a crucial moment in The Servant, the first of three collaborations between acclaimed playwright Harold Pinter and exiled American director Joseph Losey. They may appear to be an obvious, perhaps even painfully gauche, sentiment – but they happen almost concurrently to […]

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Yesterday, Today and Tomorrow (1963) — Movies Unchained

When you’ve made arguably one of the greatest films of all time, a director is normally allowed to do anything he or she decides is worth their time, granted its within reasonable limits, and maintains some kind of artistic integrity. Vittorio De Sica is the mind behind Bicycle Thieves, a film that not only stands […]

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“Bombshell” is not subtle, nor should it be — Static and Screen

Could another filmmaker have told this story with more nuance? Almost certainly. Would it have been better? I’m not sure. In telling the stories of serial abusers like Ailes, nuance can feel a little bit like using kid gloves. Sometimes, you need to scream these stories from the rooftops in order to get your point across. That’s what “Bombshell” does. And it works.

via “Bombshell” is not subtle, nor should it be — Static and Screen