Posts by author
Nicholas Rombes
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10/40/70 #11: Mildred Pierce
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
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 #8: The Foreigner
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 Foreigner, by Amos Poe.
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10/40/70 #7: New Moon, Twin Peaks
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
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…
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10/40/70 #5: Cure
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…
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10/40/70 #4: Cleo from 5 to 7
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…
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10/40/70 #3: Raising Cain
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…
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10/40/70 #2: Out of the Past
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…
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10/40/70 #1: Starship Troopers
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…