Dr. Vincent M. Gaine is a film and television researcher. His first book, Existentialism and Social Engagement in the Films of Michael Mann was published by Palgrave MacMillan in 2011. His work on film and media has been published in Cinema Journal and The Journal of Technology, Theology and Religion, as well as edited collections including The 21st Century Superhero and The Directory of World Cinema.
There is a moment early in Kenneth Branagh’s intricately constructed adaptation of Agatha Christie’s classic whodunnit when Hercule Poirot (Branagh) stands on the deck of a ship as it leaves Istanbul. Poirot is captured center frame: The deck, the railing, the adjacent cabin and the sea itself are balanced perfectly around him. The shot is…
The unique selling point of superhero cinema is the presentation of superpowers on screen and the exploration of what it means to super and to be a hero. Ever since “X-Men” took advantage of digital effects technology to render eye beams and human-generated lightning bolts, the finest examples of superhero cinema have grabbed hold of…
Victorian London has been an effective setting since virtually the beginning of cinema, perhaps unsurprisingly since it was during this period that moving pictures first appeared. From the first adaptation of “The Strange Case of Dr Jekyll and Mr Hyde” to Basil Rathbone’s incarnation of “Sherlock Holmes,” from Alfred Hitchcock’s “The Lodger” to Johnny Depp’s…
For many a superhero fan, whether in comic books, television or movie format, Spider-Man is likely to be a childhood favorite. Stan Lee and Steve Ditko’s creation of a nerdy teenager who acquires the abilities of a spider has struck nerves (or web strands) with multiple generations, as Peter Parker’s struggles with his new powers…
For a British voter and cinemagoer, it is a singular experience to see a film about Winston Churchill in the aftermath of a general election. The film is especially distinctive in 2017, as the British government displays all manner of contradictions and at times inadequacies, whereas Churchill, both the film and the legend of the…
My Cousin Rachel is a smart and evocative exercise in wrongfooting. Right from the beginning — or possibly the end — Roger Michell’s adaptation of Daphne du Maurier’s novel expresses doubt and ambiguity, as narrator/protagonist Philip (Sam Claflin, “Me Before You”) asks “Was she? Wasn’t she?” By the end of the film, any answered questions…
Lady Macbeth is an exercise in contradiction. It is a costume drama, a genre long associated with restraint and composure. It is also a gothic romance, which has a long association with passion and melodrama. These generic tropes work together as the passion of the melodrama pushes against the constraints of the costume drama, often…
