• Gems from the Archive •

THE LATEST

Vivid western painting with gunfighters, cowboys, and a smiling soldier, set against a red-orange sky and desert horizon.

“It Ain’t Like It Used to Be. But It’ll Do:” How Sam Peckinpah’s ‘The Wild Bunch’ Became Both a Eulogy for a Mythic Past and a Template for a New Kind of Action

‘The Parallax View’ at 52: Pakula’s Unsettling Examination of the Post-Compliant America

‘Psycho’ at 66: The Proto-Slasher that Brought On a Revolution in Cinema

‘Predator’ at 39: John McTiernan’s First Studio Gig that Became an Epic Action Classic

‘The Truman Show’ at 28: Weir and Niccol’s Uplifting Yet Prophetically Disturbing Dystopian Satire

We Can Mis-Remember it 80s-Style: ‘Total Recall’ Was the Last Gasp 80s Ultraviolent Action Extravaganza for a New Decade

NOC NOC: How ‘Mission: Impossible’ Lit the Fuse of Action Stardom Within Tom Cruise

‘Stalker’: Andrei Tarkovsky’s Merger of Contemplative Style and Transcendental Substance Designed to Put Us in the Zone

Hitchcock’s ‘Vertigo’: The Unrelenting Male Gaze that Blurs the Lines Between Possession and Obsession

The Sheep That Got Found: ‘Man on Fire’

Cleansing of the Soul for a Clean Slate: Guillermo del Toro’s ‘The Devil’s Backbone’ at 25

‘The Past, Present and Future of Humanity’: John Boorman’s ‘Excalibur’ at 45

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