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Cinematic Memories, Classic and Contemporary
Watership Down (Rosen, 1978) is, without a doubt, one of the pivotal cinematic experiences in my life. It captivated me at a very young age...
Seven Samurai (Kurosawa, 1954) is truly a foundational film, not just of Japanese cinema, but of world cinema. Because it is has become a to...
It’s that most wonderful time of the year again! In this episode, The Magic Jack O’Lantern 2021, we once again bring you our list of viewing...
The Cole-o-ween festivities roll on here at Lantern HQ! This time around we are discussing one of our favorite underappreciated zombie class...
Is there anything you find impossible to watch? Or how about just very difficult? For me, The Invisible Man (Whannell, 2020) is that film. I...
Gray’s Anatomy (Soderbergh, 1996) is the last proper cinematic monologue we have from Spalding Gray. That’s a little ironic. Here, he naviga...
Harlan County, USA (Kopple, 1976) is still a gut punch some fifty years later. Watching the violent and bloody events unfold as miners strik...
Shadow of a Doubt (Hitchcock, 1943) was a turning point in the career of the master of suspense. It was reportedly Alfred Hitchcock’s favori...
Butch Cassidy and the Sundance Kid (Hill, 1969) is a delight to watch time and again, a true piece of entertainment that seems to hit all th...
The Last Picture Show (Bogdanovich, 1971) will break your heart in a million different ways, all of them Texan. As an expatriate from a town...
When we first see Mona, she is already dead. In Vagabond (1985), Agnès Varda then sets about to reconstruct the last days and weeks of this...
Gillian Armstrong’s My Brilliant Career (1979) belongs to a special category of films in my personal canon. Sometimes a movie hits you like...
Is Rushmore (1998) your favorite Wes Anderson film? It is certainly mine. When I first saw it in the theater when I was about 22, it hit me...
We owe a debt of gratitude to Tremors (Underwood, 1990). Its arrival kicked off another boom cycle for one of our favorite subgenres – the c...
Is Diabolique (Clouzot, 1955) a film noir or a thriller? We firmly assert that it is one of the most delectable, and yes, diabolical noir ma...
It’s May again! And you know what that means around these parts – film noir. We are in our second year of the Noir City festival postponemen...
By special invitation from Mira Nair, we are guests at the raucous, glorious, marigold-covered Monsoon Wedding (2001). Delhi, its sights and...
Much like the electric light, telegraph, and motion pictures it chronicles, My Twentieth Century (Enyedi, 1989) is a marvel of its age. Lumi...
Rapturous. This word perfectly describes my feelings about A Room with a View (Ivory, 1985). You could also use this word to describe my fee...
I carry a particular impression with me about Robert Bresson’s L’Argent (1983). It strikes me as a stately and austere museum whose only exh...
Julie Dash’s Daughters of the Dust (1991) is a groundbreaking and timeless film. It was the first feature film directed by an African-Americ...
I have been waiting to talk about Charles Burnett’s Killer of Sheep (1978) for a long time. I first recommended it all the way back in episo...
Have you had anyone in your life like the title character from Toni Erdmann (Ade, 2016)? A family member, a friend’s dad, a work colleague?...
It’s our first show of 2021 and we want to wish everyone a happy new year! To get things off on the right foot, I wanted to choose something...
Welcome to Ants In Your Pants of 2020! It’s our sixth annual episode in which we reflect on our favorite film discoveries of the past year....
Spirited Away (Miyazaki, 2001) truly represents a vision of one person – its director, writer, producer, and animator Hayao Miyazaki. Miyaza...
It’s been a long year. I know. So, with that in mind, we are spending the last couple of entries this year on beloved family favorites. We n...
How much do your surroundings affect you? Do they bring out your latent desires, amplify them, or inspire them? In Black Narcissus (Powell,...
It’s Día de Muertos today, The Day of the Dead, and we could think of no better way to observe the occasion than to sing the praises of Robe...
It’s that most wonderful time of the year again! In this episode, The Magic Jack O’Lantern 2020, we once again bring you our list of viewing...
In Halloween (Green, 2018), it is forty years after the 1978 babysitter murders that destroyed the peace of Haddonfield, Illinois, and shatt...
It’s the best time of the year once again! Cole-o-ween 2020 is upon us and to kick off the proceedings I have chosen one of my favorite horr...
The Princess Bride (Reiner, 1987) is having a bit of a resurgence in the popular culture these days. In late 2020, the cast reunited for a f...
Kazuo Hara’s The Emperor’s Naked Army Marches On (1987) is a documentary like few others. Watching Kenzo Okuzaki cut a swath through his old...
Trouble in Paradise (Lubitsch, 1932) is a frothy, bubbly, and sumptuous perennial delight. With his famed “Lubitsch touch”, director Ernst L...
It’s hard to believe it’s been twenty-five years since Todd Solondz blessed us with the hero we didn’t know we needed in Dawn Wiener as we m...
Watching Boyhood (Linklater, 2014) in the theater was an ineffably special experience. The film itself is an astounding accomplishment, foll...
There have been very few films that blindsided me the way that Tetsuo: The Iron Man (Tsukamoto, 1989) did. I was just beginning to grasp how...
When Martha Coolidge was brought in to direct Valley Girl (1983), she knew there were some key elements she needed to bring to the film. And...
There’s a strange alchemy at work in Rolling Thunder (Flynn, 1977). We start with two subgenres that really flourished in the seventies – th...
What a treat it is to come back again and again to Raising Arizona (Coen, 1987). I have seen the film at least 20 times, and I laugh just as...
We are keeping the film noir train rolling this month, literally, with The Narrow Margin (Fleischer, 1952). This is one of my all time favor...
We decided to continue our annual tradition of highlighting our favorite films noir during the month of May, even though this year’s Noir Ci...
Losing Ground (Collins, 1982) should have been a lot of things. It should have been the foundation of a long career and important filmograph...
There is a question I pose during the episode: if anyone who disparaged the French New Wave started with Cléo from 5 to 7 (Varda, 1962), mig...
I had the pleasure of seeing Rainer Werner Fassbinder’s World on a Wire (1973) for the first time on the big screen. Being able to experienc...
The day after I saw The Matrix (Lana and Lilly Wachowski, 1999), I proclaimed to anyone within shouting distance that the film changed my li...
It’s taken 125 episodes and almost five years of doing the show, but I’m finally ready to talk about John Cassavetes’ A Woman Under the Infl...
Whom do you trust? Mattie Do’s Dearest Sister (2016) plays on our expectations of trust and seeks to upend them at every turn. Just as Ana m...
Věra Chytilová’s Daisies (1966) has been called a lot of things – confrontational, subversive, empty-headed, wanton. The elusive nature of t...