10/40/70
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10/40/70 #34: Alien
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 Alien, directed by Ridley Scott (1979):
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10/40/70 #30: Machine Gun McCain
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 Machine Gun McCain, directed by Giuliano Montaldo (1969):
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10/40/70 #27: Shadow of a Doubt
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 Shadow of a Doubt, directed by Alfred Hitchcock (1943):
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10/40/70 #22: The Ghost Writer
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 Ghost Writer, directed by Roman Polanski.
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10/40/70 #17: Aspen Extreme
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 Aspen Extreme.
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10/40/70 #15: Raw Deal
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
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…
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10/40/70 #12: Straight Time
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
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 #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…