The overly slapstick nature of the material often obscures the more interesting religious subtext wherein Castellari emphasizes Tedeum as an angelic saint within a sinful world of thieves and receptors.

While the world has no end to those whom deceive, it is Tedeum that eventually leads all into a mass baptism within the work's final climactic fight sequence within a bathhouse -all villainy is literally cleansed by Tedeum's towards felial respect and honor amongst thieves. Of course, where there is…

Cirio H. Santiago’s generally hard right-winged politics almost softens in this post-apocalyptic color allegory for nineties politics, in which post-apocalyptic tribes war over natural resources and ‘oil’ is signified by ‘gun power.’ While the ‘future’-world context naturally implies suggestive solutions to nineties contemporary issues, Santiago’s harsh politics reveal themselves in the kinds of sacrifices that are implied and the resulting kind of hero that will allow for these successful future solutions.

The multiple warring sides in this fight over resource…

While this is perhaps not the most interesting (nor masterful) of Tarantino’s works, it does have very interesting, if not expected inter-textuality, yet what does seem to receive little attention are the ways in which he makes subtle statements about war.

While at the conclusion of the picture it becomes clear Basterds is just as much about the political strategy of the United States during World War II as it is present day. This is clear through the manner by…

When Bradley Cooper's Pat awakens his dormant parents in a fit over the morbid ending of realist novel "A Farewell to Arms," O. Russell poses an interesting question about the possibility of a love story told with intentions of realist formalism. While the book clearly does fly out the window (as Richard Brody smartly observes) so do the chances for the possibility of balancing both notions.

It is incredibly difficult to observe the manifestations of internalized logic trumping the reality…