Orson Welles once claimed he only saw thrillers as a means to an end, that if it wasn’t for the unfortunate necessity of getting films funded he wouldn’t have made any. As if to demonstrate this, he would often tell a story about the genesis
In his 1970 essay Paint It Black: The Family Tree of the Film Noir, Raymond Durgnat suggests that the genre’s most common topics developed as a method of plausible deniability. As the Red Scare hotted up, left-leaning directors could address corruption in, say, prisons or boxing and have
The introduction is one of the most underrated aspects of home video, one as good as that which Peter Stanfield provides on Arrow’s release of William A. Wellman’s The Ox-Bow Incident transforms a film – providing a context, drawing attention to details and being about
A keen suspension of disbelief is critical in the enjoyment of genres predicated on wonder, whimsy and exaggeration, not having a healthy penchant to believe the unbelievable locks swathes of the more imaginative hues of cinema behind locked door. Curious it is then that 1993’s
Eureka have returned to their Eureka Classics label with the release of two titles, the first was The War Lord following that is Richard Fleischer’s Violent Saturday, a spiritual companion to the recent release of Don Siegel’s The Killers and Robert Altman’s The Long Goodbye.
A movie critic doing videogame reviews might seem odd, but with TellTale Games (creators of The Walking Dead adventure series), adapting the universe of Fables by Bill Willingham, there are few properties that benefit from this perspective as fittingly. The Wolf Among Us is set