by Genevieve Koski and Keith Phipps
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.
In a wide-ranging discussion, The Dissolve staff talks about what went right in 2014, what we want to see more of in 2015, and which films have us excited to head back to the movies.
Inspired by the swooning new Beyond The Lights, two writers ponder the disappearance of the big-screen romance, how it’s mutated into other forms, and whether it has a chance of a revival.
In adapting Gillian Flynn's bestselling thriller, David Fincher didn’t skimp on brand-name products. Two writers argue over whether the film’s native advertising goes too far, or is just accurately mirroring our brand-name world.
Three Dissolvers delve into why we enjoy onscreen catastrophe so much, why natural-disaster movies feel like an unnecessary throwback right now, and the links between this genre and others.
Back in January, we discussed the new releases we were most looking forward to seeing in theaters this year. But since most of those promising films have already come and gone, we went back to the coming-soon lists to consider what the rest of the year holds.
Melissa McCarthy’s Tammy has taken major flak from critics, but they’re overlooking how its daring use of women continues to push the growing idea that comedy benefits from a broader range of voices and perspectives.
The brainy, brawny science fiction action movie Edge Of Tomorrow got us talking about why it works so well, from the central gimmick to a committed Tom Cruise.
There’s a predominant myth in Hollywood that many independent filmmakers are just making that first shoestring feature in order to impress Hollywood and get more lucrative work. We dissect the myth and what it says about films on both ends of the spectrum.
The new Johnny Depp thriller about a man uploaded into an all-powerful computer isn’t a particularly smart film, but it does tap into a long tradition of anxiety-driven stories about how new tech might destroy our lives.
Only Lovers Left Alive has us thinking about our favorite bloodsuckers: The movies that do vampires differently, the movies that don’t, and why the vampire trope is as undying as the creatures themselves.
For all its singular qualities, Under The Skin is also part of a trend of films that could be ushering in a science-fiction renaissance.
A discussion of Darren Aronofsky’s films finds they have a lot in common whether they focus on ballerinas, wrestlers, or Biblical patriarchs.
As the latest big-screen interpretation of a bestselling young-adult franchise hits theaters, we debate what it says about the state of the YA movie phenomenon. Is it indicative of the phenomenon’s diminishing returns, or a harbinger of bigger, shinier, dumber films to come?
With the repurposed miniseries Son Of God and the TV revival Veronica Mars appearing in theaters, the line between TV and movies seems thinner than ever. Is there even a division anymore?
Wes Anderson’s latest prompts a discussion of what makes his movies work—and how seriously they should be taken.
It was a big night for Gravity, 12 Years A Slave, selfies, and a meme accidentally spawned by John Travolta.
The theatrical release of Son Of God prompted us to look back at various attempts to put the Messiah on the big screen: the too-reverent, the not-so-reverent, and the ridiculous.
The skyrocketing film career of massively successful stand-up Kevin Hart isn’t an anomaly, but it is relatively rare to see a stage comedian transition into bona-fide movie stardom. How has he succeeded where so many other gifted performers have failed?