Double Feature

A mundane workplace pair for all the Zachs out there. An exploration of all things Mike Judge. Someone please cast Aubrey Plaza as Daria. A higher-brow look at King of the Hill and Beavis and Butthead. Your life as a fantasy epic. Special effects in a vanilla world. The low-brow surface of a commentary laced package. Everybody wants to talk about Idiocracy! A passing dismissal of hypnotheaphy. Someone does a Rebecca Watson impression. An extra careful treading of the suspension of disbelief. Combing the best of humanity. Strip the subtlety, then add another layer. Where you see respect for the audience. Revising a Richard Riehle classic. If Office Space really a parody of the office? The intersection of Clerks and cynicism. Cynical misunderstandings. Does Office Space create offices? Why do people cartoon cutouts exist in the real world? The common exercise in relativism is mostly useless. The Wages of Fear. Things that happen before the driving part you remember. Life before the oil company. Trapped and trying to get out. The infamous tension. Your looming fate. Continue reading →

A modern look at two classic Victor Flemming films. Brienna Krueger almost brought you a very different pair. One man’s involvement in two colossal cinema juggernauts. Gone With the Wind as an epic. Defining popularity in gross international profit adjusted for inflation. Maintaining precision and care for each individual scene. The color palette in Gone With the Wind. Scarlet O’Hara fights for independence – but will she know what to do with it when she gets it? Attempting to find themes in an epic. Independence, southern culture, and the evolution of struggles for equality. Ladies and land ownership. The imagination of the Wizard of Oz. The part no one talks about (but should). Creative first. Ignorance of the impossible. Painted backgrounds, practice effects, and a legacy still untouched today, the Flickchart problem. The perverse and dark humor. Munchkins! A perfect grindhouse film. The man behind the curtain. George Orwell meets Objectivism. Help your friends through a common cause by empowering yourself. Continue reading →

Franchises be damned! The one-off slasher films. Michael does an awful thing. No one understands Double Feature. Joseph Zito. The Roger Corman Marvel films. Keeping the lights on (and other excuses to make art). World War 2. Advertising after the war. Parties? Not in my town! The identity of the slasher. How to not have a slasher franchise. The Prowler as a proper noun. Weapons. The look of The Prowler. When a Stranger Calls. The call is coming from inside the house, again. Karol Cane answers the phone. Implications of the camera. A breakdown of one of the most memorable and influential slasher scenes in the genre. A breed of scary films without scares. Alice finds yet another source of anxiety. Please, no one ruin vibration. When a Stranger Calls and genre-bending. The slow creep. Learning about your killer. Children return to ruin everything, but are thwarted the psychopathic anti-hero. The old cop and the sequel. Continue reading →