|Dan McCabe| “Maybe a man’s name doesn’t matter all that much,” Orson Welles says towards the end of F for Fake (1973) as he gazes upon Chartres Cathedral, which he describes as a great, unsigned masterpiece. F for Fake asks questions about the importance (or lack thereof)… Continue reading
|John Costello| For all its intrigue, racketeering, grift, occasional death, and rubble, The Third Man (1949) maintains a persistent optimism. Zither music strings us through chase scenes across Vienna’s war-damaged landscapes and down shadowy passages. The movie’s action includes… Continue reading
|Ian Taylor| Two gentlemen are sitting in a railway carriage, traveling through London. As the train slows down at a station, the first man looks out the window and says, “Is this Wembley?” The second man, gauging, replies, “No, it’s Thursday.” The first man nods thoughtfully and says… Continue reading
|Yuval Klein| At the Mexico–U.S. Border, gangsters and police animate a caustic criminal underbelly. The protagonist, Mike Vargas, is a respected Mexican criminal prosecutor who crosses over to his American newlywed’s home country at the precise moment of an… Continue reading
|Patrick Clifford| “Oh man! You’ve never seen Touch of Evil?” “Oh… Man. That first shot!” “Tick, tick, tick, tick… tacka-tooka, tacka-tooka…” This was how my good friend Juan Torres introduced to me to Touch of Evil. Long ago, when we were college students in Chicago. I can still see… Continue reading
|Luke Mosher| Franz Kafka’s 1925 novel The Trial begins like this: “Someone must have slandered Josef K., for one morning, without having done anything wrong, he was arrested.” There it is—the whole maddening tale, captured in a sentence. Continue reading
