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Issue 61: Heat

July 2018

Magnificent Obsessions: The 33-Second Elevator Ride in Indiscreet

Veronica Fitzpatrick·
Issue 61: Heat
"Here, liminal, suspended between floors, everything is left to imagination."
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Charlie Sheen, in Oliver Stones "Platoon"

A Private’s Perspective: Oliver Stone & Vietnam

Luke Hicks·
Issue 61: Heat
Oliver Stone’s Vietnam War trilogy (Platoon, Born on the Fourth of July, Heaven and Earth) helped shape America’s collective memory of the Vietnam War at a crucial moment.
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If You Can’t Stand the Heat, Get Out of the Kitchen

Madison Miller·
Issue 61: Heat
In Thelma & Louise, the only image more combustible than a Polaroid picture is that of femininity.
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Brimstone and Ash: Robert Aldrich’s Kiss Me Deadly and The End of History

Nico Chapin·
Issue 61: Heat
Viewed through the lens of 2018, Kiss Me Deadly is decidedly modern in its depiction of an America on the brink.
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How to Read a Fire: On Hitchcock’s Rebecca

Phoebe Chen·
Issue 61: Heat
In Alfred Hitchcock's Rebecca, the flames are a blinding white, almost supernatural in their brightness.
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We Shall Find the Glory

Joel Mayward·
Issue 61: Heat
An epic, classical adventure, there is something dream-like about The Lost City of Z's narrative, as if it were conjured up in the imagination and memory of the characters themselves.
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Apocalyptic Americana

Stephanie Monohan·
Issue 61: Heat
On heat and the occult in The Texas Chain Saw Massacre
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Rango and the Desert Dreamspace

Ross McIndoe·
Issue 61: Heat
It's only in a fluid, sun-dazed space like this that a film like Rango can make any sense.
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Lightning in a Bottle: Jezebel and Bette Davis

Elise Moore·
Issue 61: Heat
Ostensibly the story of a spoiled Southern belle's slightly deranged love life, Jezebel is more psychologically interesting than it has any right to be.
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Alec Baldwin in Miami Blues | art by Tony Stella

Let’s Go Straight to the Happily Ever After Part

Travis Woods·
Issue 61: Heat
Miami Blues is Baldwin’s film. He and it vibrate at the same off-kilter atomic frequency, and its whiplashed gearshifts from dark comedy to relationship drama to hyper-violent crime thriller match his own mercurial shifts in mood and tone as he constructs a ferociously charming/charmingly ferocious character.
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Great Expectations

Fran Hoepfner·
Issue 61: Heat
Summer is restless and stupid and hot.
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Heartburn: Heat as Catalyst in Adaptations of Tennessee Williams

Amber Sparks·
Issue 61: Heat
Tennessee Williams plays are full of many things—verbal gymnastics most of all—but the film versions will always be, for me, about the lush, swollen catalysts of deep summer.
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  • "THE FABELMANS has a kind of artificial intelligence, its episodic structure a series of automatic recalibrations.… twitter.com/i/web/status/16197…

    January 29, 2023 8:37 pm

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