Reverse Shot A different angle on moving images—past, present, and future

The constraint of 1.37:1 employed in the opening minutes of Tashlin's The Girl Can't Help It is a subtle ruse: Tashlin foregrounds the prevailing aspect ratio of the era for wry self-reflexivity.

Hardly an exacting cinematographer, Mekas benefits from the adaptability of the digital format, which he has implemented in his work since the late Eighties.

What gives the sequence its memorable charge is Indy’s bemused reaction shot—an interruption to the sword-twirling antics that announce spectacular danger, but don’t black out his practicality.

The Untouchables’ self-consciously recycled genre tropes never really ignite—that is, until the climactic staircase sequence, a nod to the Odessa steps slaughter in Sergei Eisenstein’s 1925 Battleship Potemkin.

In The Front, director Martin Ritt’s 1976 semi-autobiographical chronicle of the dreaded Hollywood blacklist, veteran actor Herschel “Hecky” Brownstein becomes despondent after the government-fueled showbiz deems him an unemployable Communist sympathizer

Much has been said about the charm of Singer’s films, especially since he sacrificed the X-Men franchise by passing the buck along to Brett Ratner, whose X-Men: The Last Stand brought the triptych to a close with a resounding thud.

Alan Moore may be greatest victim of Hollywood’s comic book adaptation craze.