After winning the Best Actor Academy Award for 2002’s The Piano, Adrien Brody appeared in everything from Wes Anderson movies to zero-budget comedies. But as odd as his choices have been, his performances suggest he might have a master plan.
In Michael and Phenomenon, peak-comeback Travolta played a pair of superhumans in the service of sappy material.
In movies from King Kong to 25th Hour to A Most Violent Year, history has changed the way we look at the World Trade Center.
Steven Spielberg’s UFO film contrasts the humble stuff of 1970s American life with the possibility of otherworldly wonder.
Two writers continue the 25th Hour talk by digging deeper into its position in the Spike Lee canon, its specific take on 9/11, and an often-derided plot point.
Spike Lee’s 2002 film used the backdrop of a 9/11-devastated New York as the stage for a drug dealer’s guilt-wracked last night of freedom.
Birdman may have been a deserving winner, but not getting to see Linklater collect either the Best Picture or Best Director Oscar feels like a real loss. At the same time, it felt like a moment out of a Linklater movie.
The venerable director discusses the delicate balancing act of Maps To The Stars—and why it isn’t Hollywood satire.
A split between Best Picture and Best Director at this year’s Oscars would mark the third time in a row that’s happened. And that’s a good thing.
Escape From L.A. gave audiences the basketball-shooting, wave-surfing, long-in-the-tooth Snake Plissken that they rejected in droves.
With Bound and Old Fashioned, The Asylum and the Christian film industry work out Fifty Shades Of Grey’s kinks, using strikingly different approaches.
Inspired by What We Do In The Shadows, our periodic cinematic-sabermetrics feature breaks down 15 other vampire comedies by silliness, sexiness, and percentage of Nicholas Cage eating live cockroaches.
We continue the discussion by looking at John Carpenter’s twitchy synth score, his approach to filmmaking on a budget, and Kurt Russell’s sad, suffering eyes.
John Carpenter’s pessimistic science-fiction thriller drew on contemporary sources like Death Wish and The Warriors, but it predicted the chaos that breaks out in urban centers when disaster strikes.
Two PBS shows—POV and Independent Lens—have long been important sources for documentary films. But a changing landscape has put them in danger.
Now that the world has seen what a movie adapted from a piece of erotica adapted from a piece of Twilight fan fiction looks like, two Dissolve writers discuss whether it was good for them.
2014’s biggest American animated film didn’t score a Best Animated Feature Oscar nomination, an omission that points to bigger problems with the category.
The writer-director-stars of the vampire mockumentary What We Do In The Shadows talk about their initial mutual loathing, their spin-off plans, and their overacting problem.
For one episode, two of the biggest pop-culture phenomena of the 1970s collided, showcasing their respective appeal and limitations.
The Iranian-born writer-director of Persepolis discusses her first English-language movie, her crush on her star Ryan Reynolds, and why she’ll never do a franchise film.