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www.Back-Row.com has grown sentient, with four mouthes and eight ears, and transformed into: Notes From the Back Row! In this first episode, Carlo, Dan, Jenna and Veronica talk about all things Jeff Goldblum. They discuss both his movies, and their desire to shed their limbs and morph into him.
You may not have heard of him, but Michael Greer managed to make a modest but impressive dent in the oppressively straight world of cinema in the late '60s and early '70s. Greer went from comedy clubs to the silver screen without ever pretending he was anything other than what he was – unabashedly out of the closet.
Take a dip into the world of Australian cinema’s homoerotic undertones – from Mad Max to The Rover. A country so manly that in some ways it’s like masculinity folded in on itself and emerged as a new beast.
Myra Breckinridge is indeed a failure of an adaptation, yet I suspect the intensity of the vitriol towards this film is about something beyond just the admittedly poor direction; most likely it has more to do with the unconscious biases Vidal set out to skewer to begin with.
The charges against Martyrs range from misogyny, to torture porn, to support for getting what you want by any means necessary. It’s an unsettling and rightfully polarizing film, but I'd like to take a closer look at what exactly it is saying, and how many (if any) of these claims have validity.
That's right folks, pretty soon we'll be able to violently murder each other next to some sweet-ass concentric circles, just like our forefathers envisioned. You might scoff, but we've been dreaming of this future for a long time.
Staring into the realm of existential horror can actually be quite liberating, and there’s no surer cure for deep-rooted anxiety than fully embracing nihilism and toasting the end of the world. Join me as we take a closer look at First Reformed, Arlington Road and In The Intense Now / No Intenso Agora.
The Coca-Cola Kid was largely forgotten by time for a multitude of reasons. But it's Jenna’s suspicion that the movie got such a mixed reception due to the fact that, while we'll rarely admit it, subconsciously we all kinda love our advertising overlords.
We’re killing Capitalism before it kills us with a double feature of Thoroughbreds and Cheap Thrills, both of which skewer, roast, and serve up the worst parts of capitalism on a metal spike.
Based on a manga? Check. Strong, silent protagonist? Check. Prisons? Check. Rage against The Man? Check. Riki-Oh: The Story of Ricky and the Female Prisoner Scorpion movies complement each other perfectly as showcases of Japanese and Hong Kong cinema at the zenith of their age.
