Viewed through the lens of 2018, Kiss Me Deadly is decidedly modern in its depiction of an America on the brink.
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.
In Thelma & Louise, the only image more combustible than a Polaroid picture is that of femininity.
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.
"Here, liminal, suspended between floors, everything is left to imagination."