Category: Print


Monster: Based On A True Story (2003), written and directed by Patty Jenkins. Aileen Wuornos: The Life and Death of a Serial Killer (2003); The Selling of Aileen Wuornos (1992), directed by Nick Greenfield. From 1989 to 1990, a ragged drifter, Aileen Wuornos, murdered seven men along a stretch of central Florida freeway. Her MO bore the […]

Pink Panther

ON A CERTAIN TENDENCY IN THE BOND AND CLOUSEAU FRANCHISES (This piece was published as “BOND REVISITED, CLOUSEAU OBSERVED”, in FILM/PSYCHOLOGY REVIEW, Volume 4, #1, 1980, pp. 140-51. My remarks then were prompted by the latest Inspector Clouseau film, THE REVENGE OF THE PINK PANTHER , released in 1979, and sixth in the Clouseau series. […]


This Boy’s Life: directed by Michael Caton-Jones In the tradition of a classic bildungsroman, the autobiographical hero of James Joyce’s A Portrait of the Artist as a Young Man is a sensitive adolescent, alienated from his repressive provincial surroundings. Stephen Daedalus’ vaulting ambition, his contention with narrow-minded paternal authority figures, identifies him with Icarus. That […]

Car Crash Culture: Machine Dreams

Science fiction cinema has consistently, if unconsciously, manifested an intriguing split in its attitude toward the machine, treating it unabashedly as a dehumanizing oppressor while lovingly lingering over its gleaming gizmos. Crash, scripted nearly faithfully by David Cronenberg from English sci-fi writer J.G. Ballard’s 1973 cult novel, knowingly interrogates this ambivalence in a harrowing exploration […]

Celluloid and Psyche

From his earliest researches, Freud frequently ground his clinical theories in the recognitions of art, liberally crediting the intuition of the artist that preceded psychoanalytic insights. Freud’s followers were quick to follow the master’s lead. Variably accurate versions of analytic theory soon spread to respectable and “fringe” artistic circles. Studies of art by analytically inclined […]

Re-Screwed: Pretty Woman’s Co-opted Feminism

Robert B. Ray argues that mainstream American cinema has often death with a serious social ill by reducing it to a personal matter. The impact of racism or anti-Semitism upon a few individuals is portrayed, then a tidy reconciliation is served up involved a convenient change of heart or show of good will. Unwary viewers […]