All in Reviews
“I don’t rely on mirrors, so I always take polaroids” declares Alicia Silverstone in one of the glamorous fashion montages of Clueless.
Press. Flash. Flrrrrr.
Moments later, the on-spot portrait develops before your eyes.
Comparable to modern smartphone cameras, Polaroids were essential for testing out the lighting and look before the “real” cameras were ready to go. Typically cast away in the crevices of a photographers work space, instant film cameras are in a 21st Century Renaissance challenging the accessibility of digital platforms and the vision of photography.
Both a tribute and eulogy to American romanticism and the actual relationships that exist within it, Niagara hurtles towards an eventual and inevitable end, just as the namesake falls weave through their landscape before breaking off, bending, and reaching their plummeting fate.
Montgomery Clift was an original heartthrob that wooed audiences in post WWII theatre and cinema. Tabloids had a field day printing his gorgeous face on their covers and the public couldn’t get enough of him.
Four Academy Award nominations, outstanding critical praise, and hunk status, Clift seemed to have the world at his hands, but as a closeted gay man in a conservative era he succumbed to destructive behaviors.
Whenever a remake is announced, the film community groans. Why remake something that is fine the way it is? This is always the question begged by cinephiles.
Luca Guadagnino’s Suspiria is not a direct remake of the Dario Argento classic, rather a “cover”.
The latest version follows Susie Bannion (Dakota Johnson) an American who arrives in Germany to study at a prestigious dance academy. She soon discovers the school is a front for a coven of witches.