Ticket Stubs #9: I Just Want to Take Another Look at You

Temple of Doom, Born on the Fourth of July, A Star is Born (1954), Brewster McCloud, and New York, New York.


God’s Good Humor: Forrest Gump, Titanic, and the Historical Ethics of Hollywood Filmmaking

Forrest Gump and Titanic, though celebrated eagerly and without hesitation by audiences the world over, have found themselves over the years the targets of critics who have charged the works as facile, unsophisticated representations of times recent and increasingly distant. I find such labels themselves to be facile and unsophisticated, as both films have a lot to say about our construction of historical narratives as methods of weaponization, therapy, or some uncanny meeting of the two. However, despite the similarities the films and the filmmakers share, the approaches they employ in their characterizations of the past speak to just how disparate their directorial philosophies are in its depiction.

Ticket Stubs #5: Wouldn’t It Be Nice

For a project and a part that could have served as the very definition of vanity theatre, Beatty accomplishes one of the greatest tricks a movie star has ever pulled: we as an audience find ourselves at once aroused and repulsed by him.

Ticket Stubs #4: We’re Far From the Shallow Now

Thankfully, Bradley Cooper's directorial debut and exploration of this well-worn material is not only an unqualified cinematic success on a grand, wide-screen scale but a strong, valiant case for why movies, especially those coming out of major studios, can still matter as a mass art form.

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