Nicholas Rombes

10/40/70 #19: Notes on a Scandal

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Notes on a Scandal, directed by Richard Eyre and based on a novel by Zoë Heller.

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10/40/70 #15: Raw Deal

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Raw Deal by Anthony Mann.

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10/40/70 #14: Blair Witch and House of Leaves

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine the Blair Witch Project and compare it with the novel House of Leaves, which I sample at the 10%, 40%, and 70% marks.

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10/40/70 #12: Straight Time

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Straight Time, directed by Ulu Grosbard.

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10/40/70 #11: Mildred Pierce

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine Mildred Pierce, directed by Michael Curtiz.

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10/40/70 #9: The Descent

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine The Descent, by Neil Marshall.

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10/40/70 #7: New Moon, Twin Peaks

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This ongoing experiment in film writing freezes a film at 10, 40, and 70 minutes, and keeps the commentary as close to those frames as possible. This week, I examine New Moon, with notes on Twin Peaks and surrealism.

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10/40/70 #6: Punishment Park

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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10/40/70 #5: Cure

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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10/40/70 #4: Cleo from 5 to 7

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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10/40/70 #3: Raising Cain

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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10/40/70 #2: Out of the Past

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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10/40/70 #1: Starship Troopers

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This column is an experiment in writing about film: what if, instead of freely choosing which parts of the film to address, I select three different, arbitrary time codes (in this case and for future columns, the 10-minute, 40-minute, and 70-minute mark), freeze the frames, and use that as a guide to writing about the film, keeping the commentary as close to possible to the frames themselves?

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