The Blood and the Song – Ryan Coogler’s Sinners, the Mississippi Delta, and the Long History of the Vampire
Sinners did not need a vampire to depict the Delta’s dangers. The first hour proves it: an economy of scrip and debt, a legal
Short Book
Farce: A Critical Study of Frank Capra’s Arsenic and Old Lace (1944)
He is not looking for a corpse. He is looking for his notes.That detail is worth holding onto, because everything that follows depends on
White Cake: The Price of Ownership and Ignorance, and the Squandering of Freedom in Quentin Tarantino’s Django Unchained
American slavery was not ended by an individual’s revenge; it was ended by a war of unprecedented mass casualty, fought initially by people who
The Useful Lie: Belief, Space, and Judgment in Quentin Tarantino’s The Hateful Eight
Belief, Space, and Judgment in Quentin Tarantino’s The Hateful EightA room. Eight strangers. A storm that closes every exit. Everyone has a story, everyone
The Width Of The Arc: A Philosophical Reading of Pit and the Pendulum (1961)
Before the film has a landscape it has a temperament. The credits arrive as liquid: pigment blooming and folding into itself, blue devouring red,
The Sound Beneath the Floor: On Roger Corman’s House of Usher (1960)
A rider crosses ground that no longer produces anything. The trees stand, but they stand the way scaffolding stands after the building has been
