As hyperreal as Schrödinger’s cat, the Driver glitches through a series of archetypes, and Drive itself escapes characterization as easily as he escapes his various pursuers.
PositionContributing Editor
JoinedMay 27, 2017
Articles8
Kara Shroyer is one of Bright Wall/Dark Room's contributing editors. Her nonfiction has appeared on RogerEbert.com, Gapers Block, This Recording, and in FLAUNT magazine. She lives in Chicago with her daughter.
Secretary never exploits or stereotypes BDSM for sport; never uses it as a sideshow; never markets it as a pathology to overcome.
A Christmas Story, children who dream of growing up, and adults who dream of being young again.
Casablanca hinges and cracks opens on a quiet montage of two lovers wooing one another in Paris before the story even began.
San Francisco Chronicle July 17, 1972 SAN FRANCISCO, CALIFORNIA — Frederick Larabee, founder of the Larabee Foundation, was among more than...
Angels in America belongs in a psalter—not because of its spiritual rambling, but because of its poetry.
Blue Velvet reminds us that we are almost never ready for the things that end up shaping us the most.
In the Coen brothers’ 1996 film Fargo, Jerry Lundegaard walks into a North Dakota bar in a cloud of discomfort and, we imagine, arctic air.
