On Film, Movies, Cinema

“Sudden Fear” (1952): Neither sudden nor fearful

“Sudden Fear” tells the tale of a playwright that married the wrong man and was almost written out of the script.

2020-11-26
On Film, Movies, Cinema Confessions of a Bad Movie Watcher

The Genius of Ozu’s “Good Morning” (1959)

Children in Good Morning protest social mores because they fail to appreciate the rules governing the relations of families and neighbors.

2020-07-14
Faves On Film, Movies, Cinema Viewing Journal

Is Writing About Bad Movies a Waste?

In which I performatively answer the question with reference to an episode of The Mandalorian, whether one should write about bad movies/televisions shows.

2020-06-20
On Film, Movies, Cinema Confessions of a Bad Movie Watcher

Joanna Hogg’s “Unrelated” (2007): The Desire to Belong

Reflections on an early film by the British film director Joanna Hogg, which I viewed in preparation for seeing The Souvenir (2019).

2020-04-05
On Film, Movies, Cinema Viewing Journal

Does Philosophy Do Film?

“Clearly you are not a bowler”: Can film do philosophy? Can philosophy do film?

2019-12-31
On Ideas, Concepts, Intuitions On Film, Movies, Cinema Reading Journal

Uncertain reflections on the Coen Brothers’ misanthropy

Reflection on David Denby’s critique of the Coen brothers’ consistent misanthropy

2015-01-15
On Film, Movies, Cinema

“Hiroshima Mon Amour” (1959), Part 1

Bodies impersonal but affective are instruments of memory.

2014-10-23
On Film, Movies, Cinema

“Pépé le Moko” (1937): Failure to Escape

Comments on the 1936 film Pépé le Moko, starring Jean Gabin, and set in the Casbah

2008-06-08
Viewing Journal On Film, Movies, Cinema

Hitchcock’s “Rear Window” (1954): Murder as Fantasy, Sex as Violence

Rear Window appears a murder mystery in which Jeff and Lisa play amateur sleuths. In truth, the film is a fantasy about the strange gravity between sex and murder.

2007-12-08
Faves On Film, Movies, Cinema

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On Film, Movies, Cinema

“Sudden Fear” (1952): Neither sudden nor fearful

The Genius of Ozu’s “Good Morning” (1959)

Is Writing About Bad Movies a Waste?

Joanna Hogg’s “Unrelated” (2007): The Desire to Belong

Does Philosophy Do Film?

Uncertain reflections on the Coen Brothers’ misanthropy

“Hiroshima Mon Amour” (1959), Part 1

“Pépé le Moko” (1937): Failure to Escape

Hitchcock’s “Rear Window” (1954): Murder as Fantasy, Sex as Violence