Pierrot le Fou, of course, abounds in a wide variety of artistic references.
The film mostly lives in the present, delving into history only on a personal level.
The film is likely to be embraced by its boosters as a modern embodiment of the Italian neorealist style.
The film makes an impassioned, angry case against the practice of torture that has become commonplace in interrogations post-9/11.
My obsession with David Byrne and company, as so often happens with me, started with a movie.
What? you may be asking. A symphony—especially one that runs nearly 90 minutes long? And why Mahler?
Let us consider Tarantino’s upbringing for a bit.
When one thinks of parody, one might immediately think of blitzkrieg spoofs like the Mel Brooks movie satires.
I think I have sufficiently established the ways in which Godard and Tarantino are similar as artists.
Ultimately, the broad question I would like to pose is: is Tarantino really a Jean-Luc Godard of the 1990s and today?
I think everyone has their personal daydream canon.
Infamous takes a more complex approach to exploring Truman Capote’s disintegration than Bennett Miller’s Capote.
Die Hard is, in a way, three movies in one.
A kaleidoscope of alienation and longing, the film remains one of Wong’s least discussed and least appreciated films.