The Color of Blood: Why Gore’s Hue Might Affect Cinematic Believability

Does the color of blood in a violent scene affect a movie’s credibility? I’ve been asking this question for a while after mulling a variety of great films that feature unrealistic-looking hemo-splatter yet remain some of the most believable pictures of all time. The Godfather (1972) has a scene in which the crime-family head Vito…

By Simon Hardy Butler
Invasion of the Body Snatchers

Invasion of the Body Snatchers: Celebrating 60 Years

It’s odd how sometimes, out of commercial considerations rather than artistic ones, great pieces of art can be forged that leave a lasting impact on the human psyche. Tchaikovsky’s “1812 Overture”, for example, was a contractual piece written without warmth by the composer. David Lean chose to make Lawrence of Arabia over Gandhi because he…

By Jeffrey DeCristofaro

Reflecting on the Saw Series: A Cut Above or a Bloody Mess?

My daddy, before going off to parts unknown, left me with two warnings about life. The first, as you probably could guess, was to never get involved in a land war in Asia. The second was to never trust the title “Final Chapter” when it is applied to a popular film franchise. With news cropping…

By Jonathan Eig
The Brood David Cronenberg

David Cronenberg’s Films Ranked from Worst to Best (Part Two)

In Part One, we began looking at the career of David Cronenberg. It has some clever lines. But if you only care about the cream – or in Cronenberg’s case, maybe “burnt ends” is a better metaphor – then proceed into the abyss. Here are his top ten feature films, IMDB rank in parentheses. 10.…

By Jonathan Eig
Naked Lunch David Cronenberg

David Cronenberg’s Films Ranked from Worst to Best (Part One)

“You Should Know How Bad This Movie Is: You Paid for It.” That was the headline of Robert Fulford’s consideration of David Cronenberg’s first broadly released, publicly financed feature film, Shivers, in 1975. Fast forward twenty years. Evening Standard film critic Alexander Walker after seeing Cronenberg’s latest film, Crash, in Cannes: “Beyond the bounds of…

By Jonathan Eig