Oliver Stevens is a graduate of Hamilton College with honors in Cinema and Media Studies, a connoisseur of minor league baseball, and a recently converted devotee of döner kebabs.
The 2013 film of a man lost at sea is a potent representation of all humanity's efforts to master the world made powerless against a world that does not care.
Sometimes richness looks like an opulent mansion, sometimes it looks like a sleek modern home. In these different aesthetic visions of wealth, we get different accounts of its injustices.
While its popularity is exploding, IMAX is still a cumbersome, disorganized format. Its lack of convenience, though, has become a channel for creativity.
We have an obsession with lists and aggregated polls that crown a single film as the champion of the art form, but we think precious little about what we mean by that prestigious label.
Two films, one a revered classic and the other a recent classic, interrogate the American Myth, examining the inevitable ruin that comes from obscene power and the legends we draw from such tales.
There are no small parts, only small actors. Philip Seymour Hoffman's six and a half minutes as an exasperated henchman in The Big Lebowski is a case study of the maxim.
Far more than a cheesy trend of the 1980s, ending a film on a freeze frame is a practice with a rich history that can sanctify a film's final emotional beats or throw us into uncertainty.
It has quietly become assumed that every film and series is there to give us clear commentary about the here and now. But in thinking this way, we shut down the interaction between art and culture and let culture call all the shots.
Clint Eastwood's courtroom drama has a compelling concept, until it goes out of its way for a scene to recreate 12 Angry Men beat for beat. In doing so, it obscures its own thematic interests.
A television show's opening credits give free reign to creativity and style, leading to stunning sequences that become indispensable parts of their series.
Movie theaters are an endangered species, but they are an indisposable part of the cinematic ecosystem. If you care about film, support the ones near you.
With Amazon MGM taking over creative control of 007, the age of of Bond being synonymous with big-screen blockbusters is at and end. Brace yourself for the assault of spinoffs and streaming content.
Nearly 30 years after its release, The Truman Show has only grown in relevance, as everyone has come to join Truman as products trapped in a false world.
It would be a considerable understatement to say that the technological boom at the end of the 20th century which brought about the internet age has not delivered on its promises of bringing a utopia.
Hundreds of Beavers Is the Video Game Movie We Need
Hundreds of Beavers is a brilliant movie. I’ve written about it once already for this site, praising its creativity in the face of a miniscule budget and the escalating series of gags that stack on top of each other.
David Lynch, master of the surreal, dies at 78.
One of America’s greatest directors leaves behind a legacy of perplexing, unnerving films that pushed the
