Hail Caesar! plays more like a trailer rather than a movie. It imitates the style of Tarantino’s newer output (Inglorious Basterds, Django Unchained), a slideshow of longwinded conversations between characters that seem disconnected from any central plot. In fact, the film has as little regard for the plot as it has for comedy or the audience. Interesting characters that don’t amount to anything more than cameos, irrelevant subplots, awkward humor, meta-references, unsatisfying ending… Hail Caesar! is not concerned with pandering…
Park Row was Fuller’s pet project. Inspired by his experiences as a young reporter, and financed by the director himself (despite his seven picture deal with Fox), it’s clear that it was a film he had wanted to do for quite some time. And maybe because this is such a personal and nostalgic work, the tone is also more idealistic, earning comparisons with Capra’s classic dramas. In fact, Fuller pretty much copies the patriotic Lincoln Memorial scene from Mr. Smith…
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,…