Jurassic Park began as a novel, a cautionary tale about genetic engineering. On screen, it became a metaphor for reproductive fears and patriarchal control.
Spielberg’s dystopian vision in A.I. retains a sincere humanity at its heart, even while acknowledging that that heart isn’t beating.
Spielberg is a great filmmaker, not a great thinker. And that's the problem.
When I first saw Raiders of the Lost Ark as a kid, I didn’t know a thing about tracking shots, composition, or visual framing—I only knew I wanted this film in my brain forever.
I wanted to be like Roy in Close Encounters of the Third Kind. I wanted something huge and inscrutable to choose me out of the billions of people on Earth.
A look at the Indiana Jones films through the eyes of Marion Ravenwood
on The Sugarland Express (1974)
Christian Slater is binary. He is both a one and a zero. There is him, then there is the him inside him.
Bridge of Spies is the kind of cinema that can instruct, even as it acknowledges that parts of the world remain broken.
Spielberg’s adaptation of J.G. Ballard’s autobiographical novel, about his time in a Japanese-run internment camp in China, comes at us less as an argument than as a series of cinematic intensities.