By Michael Koresky, Jeff Reichert | April 18, 2007

Are we merely “diaper dandies” (thanks, David Poland!) rattling sabers to grab the attention of the establishment? Or is there something to the way we grew up with movies that results in a different way of looking at them?

By Andrew Tracy | April 17, 2007

Undeniably, the age of video spawned our current state of being accustomed to having “everything” available to us at all times. Film history (in theory) no longer has to rely on rare screenings or archival digging to advance: previously hidden treasures are spilling out at our feet seemingly every week.

By Michael Joshua Rowin | April 17, 2007

Wayne’s World met with its audience at the perfect late-capitalist moment—a product to satisfy evolving marketing strategies, the film ornaments corporate ideology with self-conscious irony, fostering its audience’s dependence on popular culture by selling it as above-it-all satire.

By Travis MacKenzie Hoover | April 16, 2007

Cronenberg’s choice for the site of the revolution is a public-access cable channel innocently called “Civic TV”; it’s there that Max Renn (James Woods) gives his audience the hardcore sex and violence that the cathode ray tube had previously lived to deny.

By Nathan Kosub | April 16, 2007

The video store cult section buried John Carpenter. His hour-and-a-half revelations were always modest, and he got the movie he wanted every time. No talk of director’s cuts, no commentary except about paid bills.

By Chris Wisniewski | April 15, 2007

In one sense, my descent from lofty aesthetics to base pleasures, from unsettling ambiguity to simple rapture, and from intellectual engagement to visceral thrill, flies in the face of expectation: Don’t we respond more powerfully and more deeply to works of art upon repeated exposure to them?

By Eric Hynes | April 14, 2007

The John Hughes generation didn’t care a whit about aspect ratios or screen size. They cared about laughing and about feeling smart while laughing, and they cared about relating. Home video and cable television only made it easier to connect, to own the connection and revisit it at will.

By Kristi Mitsuda | April 13, 2007

Wild at Heart is, for all its confounding detours, simply this: a gorgeous love story set in a hyperbolically fucked-up world.

By Brendon Bouzard | April 13, 2007

I owned Who Framed Roger Rabbit—we use this sort of discourse even now, though we usually acknowledge the essential facsimile nature of home video by throwing the words ‘a copy of’ in there.

By Michael Koresky | April 12, 2007

It’s difficult for me to think of a more proper introduction to the confounding, slack-jawed pleasures of this ostensible space saga than crouched on the floor, behind my parents’ hassock, on the carpeted floor of my childhood family room.

By Jeff Reichert | April 11, 2007

For a child aged five or six, the Rebel Alliance’s cascading near-failures turned miraculously into grand success was the perfect agent of cinematic wish fulfillment—a narrative culminating in total satisfaction with loose ends firmly tied in a fantastic Endor hoedown.