by John S
WARNING: Some SPOILERS.
Just over three years ago in late 2012, the James Bond franchise was riding a wave of popularity higher than any since the early glory days of Goldfinger and Thunderball in the mid-1960s. Skyfall, the 23rd entry in this longest-running active franchise in cinema history, was released that November and proved to be immensely popular with critics and audiences alike. To be frank, some of its plot details weren’t exactly original, having been cribbed from other franchises (the hard drive with MI-6 operatives’ identities is basically the NOC List from the first Mission: Impossible movie) and even previous Bond films (the element of M having an expanded role with her past coming back to haunt her, courtesy of a villain with whom she has personal ties, was first used in the very underrated 19th entry, The World is Not Enough). Still, Skyfall used these tropes deftly and took enough liberties of its own with the tried-and-true-and-therefore-not-always-fresh “Bond Formula.”
by Evan J Peterson
On Tuesday, March 1st, join us for the next installment of our SHRIEK: Women of Horror Film class. This time, we’ll focus on A Girl Walks Home Alone at Night, the world’s first Iranian vampire Western, written and directed by Ana Lily Amirpour.
by Travis Vogt
Supreme Court Justice Antonin Scalia was a terrible monster. At least, that’s what my liberal pals and I thought whenever he popped up in the news feed. During oral arguments and in his writings and dissents, he would make brutal, sneering pronouncements about, well, virtually everything that liberals hold dear. He was brutal on gay rights. Brutal on race relations. Brutal on corporate hegemony. He was the deciding vote in cases that had genuinely negative consequences for the country and millions of individuals. He was the massive dark star of judicial thought. You couldn’t avoid him and he brought nothing but doom.
by Norm Nielsen
Velda to Mike Hammer: “‘They,’ a wonderful word. And who are ‘they’? ‘They’ are the nameless ones who kill people for the great whatsit.”
The noir conspiracy central to Kiss Me Deadly is ‘they’ want to get ahold of the great whatsit. ‘They’ are underworld criminals, Communists, and government agents. The film’s great whatsit is fissionable nuclear material, the possession of which has apocalyptic consequences. These are the shadowy unknowns detective Mike Hammer chases in 1955’s penultimate film noir, Kiss Me Deadly.