I feel like an apologist for complex filmmaking when I ask you to give Scott Pilgrim vs. the World a second watch, but perhaps I shouldn’t. This is a film that was made for people like me.
JoinedMay 26, 2017
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Andrew Root is a former Senior Editor at Bright Wall/Dark Room. He lives in Peterborough, Ontario and on the internet at @AndrewJRoot.
Crimson Peak: The Art of Darkness offers delicious insights into the making of the film, and more than a few glimpses of how director Guillermo del Toro invests himself in every note of it.
In 2017, an attempt to write exhaustively on Citizen Kane is a futile affair.
The Fisher King is a wonderful blending of the realistic and the fantastic, a reminder that the mythic need not be inaccessible, and that the hero need not slay a dragon.
In the early 1990s, Al Pacino began a project that would span years and continents; a multi-level documentary chronicling his attempt to understand and convey how he felt about Shakespeare’s Richard III.
Arrival purports to have a circular structure itself, through the use of flashbacks and forwards, but subsequent viewings reveal it to be linear by way of a palindrome.
Modern audiences will hear echoes of that folk tale in the high-octane antiheroes of The Fast & the Furious film franchise, a series of films that has mystified some with its longevity.
We lose nothing from a fuller representation of what it means to be human; we gain everything from a more empathetic understanding of our friends.
What I wanted The Hobbit to be, and what that says about me.
We’ve got a wonderful grab bag of cinematic ephemera for you this month.
In this month's issue, we are thrilled to bring together essays that touch on themes of love, loss, self-discovery, intrigue, films, food and finding where you're supposed to be.
Loyalty to the source material is a curious thing. In modern terms, although it’s clambered for and scrutinized mercilessly by...
