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film noir and the banality of evil

FILMS NOIRS AND HOW THEY EMBODY THE BANALITY OF EVIL Film noir is not easily defined. The term was used in France for the first...

In My Defense of Beach Party Movies

As the end of July approaches, moviegoers are enjoying the earlier summer blockbusters from May and June while anticipating the ones that are still...

Finding Happiness In Their ‘Desert Hearts’

Pride Month for any cinephile translates to immediately binge-watching any LGBT movies that are within reach. While it’s easy to focus solely on modern...

Sound of Madness [Analysis of CLIMAX]

If you haven't seen CLIMAX, I strongly advise you to watch it knowing as little as possible to make your own thoughts about the film....

Outer Space Movies: Unusual Wilderness Survival Stories

“I admire its purity. A survivor … unclouded by conscience, remorse, or delusions of morality . I can't lie to you about your chances,...

Booksmart: A Re-imagination of an Archetype

"Good morning, winner. Take a deep breath. Good. You're ready to dominate this day. You've worked harder than everyone, and that is why you're...

Feminist Criticism on Mad Max: Fury Road

Mad Max: Fury Road has been on the spot of critics over the argument whether it can be perceived as a feminist masterpiece or...

Latest articles

Wu-Tang Clan: Of Mics and Men; thoughts

The Wu-Tang Clan was instrumental in the evolution of hip-hop music as we know it today. 25 years after their fantastic debut, Enter The Wu-Tang...

A Splash of Waters: Exploring the Theatrical Style of John Waters 50 Years Later

This year marks the 50th anniversary of John Waters’ debut feature, Mondo Trasho, which made his mark as one of the most provocative voices...

Fast & Furious: Hobbs & Shaw

Who would have though that the Fast & Furious will become one of the biggest franchises with over 8 instalments and its own spin-off? Not...

Rape and Revenge Films: Feminism or Fetishization?

While the majority of the genre is left unspoken about-- a guilty secret amongst film lovers— movies such as the popular French-American Revenge (2017), have brought the category into the spotlight, begging the question: are rape-revenge films empowering, or are they marketing off of female suffering?