While the theatrical cut relegated Superman to a background character and sided with Batman, this new Extended Cut refocuses the story around the man of steel, improving the structure of the film, reinforcing the christian allegory and continuing the politics of Nolan’s trilogy more clearly. Although this cut adds some (much needed) transitions in the form of TV footage, a device taken from Miller’s Dark Knight Returns, the film still has pacing issues and the final confrontation still feels exceptionally…
Seeing these early Bresson films is quite interesting, and Les dames du bois de Boulogne stands out as a transitional work for him. The film is more stylistically mature than his previous two, but is like watching a completely different director, closer to the impressionistic cinema of Renoir and Carné (with whom Maria Casares also worked) than to the stripped-down style he later developed. Not only is Les dames’s gloomy darkness (with most of the scenes taking place during night)…
I love how you can clearly see that she's wearing a shitty "wasp" costume, it adds a whole new level of unintentional depth into the movie: what if she never really transforms into a wasp, what if she's just a serial killer that puts on a costume because she's a bipolar sociopath or something?
Corman might be a genius after all.
Stanley Kubrick covered various and different genres through all his career, from film-noirs like The Killing and Killer’s Kiss, to big epic spectacles like the historical Spartacus and the futuristic 2001 and A Clockwork Orange, and also covering the horror and psychological thriller genres, among others. Although I’d say that one of his bigger inputs was in War Films, going back to this genre multiple times, firstly with the amateur Fear and Desire, then with Paths of Glory and ultimately,…