Double feature: This one is, admittedly, a no-brainer. But how many apter double features for this time of year are there? Continue reading
Double feature: A double feature of epics that will take the better part of a day to watch, the pairing of “Gandhi” and “Black Narcissus” provides ample fodder for considerations of dominion, overcoming, and the good/evil within us (i.e. whether one or both are inherent, and how each has the potential to conquer the other, if only temporarily).
Double feature: The prevailing genealogy of “Blue Jasmine” and its eponymous heroine involves “A Streetcar Named Desire,” the Madoffs, and the personality/mannerisms of a New York art gallery owner who came within Woody Allen’s ken. My personal theory involves the director (subconsciously?) crafting a take on the personality of, and everlastingly contentious end of his relationship with, Mia Farrow.
Double feature: “Felliniesque” has become shorthand for a kind of disjointed grace, with bizarre/ fantastical non-sequiturs and detours into characters’ mental landscapes, both dreaming and awake.
Double feature: There really aren’t that many movies featuring the Thanksgiving holiday, even tangentially. If you’re looking to branch out beyond “Planes, Trains & Automobiles,” “Home for the Holidays,” and “Hannah and Her Sisters,” consider a double feature of “The Birdcage” and “Women on the Verge of a Nervous Breakdown.”
Double feature: Lots of films concern themselves with the “what” or “when” of action. “The Straight Story” and “The Swimmer” stand out, and link to each other, by placing their urgency on the “how.” Both center on protagonists who turn routine journeys into quests by dreaming up exquisitely particular, unconventional ways to get from point A to point B.