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.
The gangster movie is a genre with a long and distinguished history. From “The Public Enemy” to “The Godfather” to “Infernal Affairs” to “Black Mass,” the exploits of gangsters around the world have delighted audiences and encouraged filmmakers to produce works that are familiar yet innovative. The British gangster film includes some prominent and memorable…
There is a scene in Zack Snyder’s Justice League when one of the central superhero figures uses his superpowers for good. This may sound obvious, but it is notable that such use usually translates into beating up bad people, whether they be muggers, megalomaniacal crime bosses or genocidal aliens. This scene, however, involves helping someone…
2003’s “Wrong Turn” spawned a surprising franchise. Five sequels and this 2021 reboot demonstrate that screenwriter Alan B. McElroy’s premise has (deformed) legs that have continued to provide bloody scares for audiences. After six films in the original continuity, a reboot seems timely and could continue to capitalize on the potential of city people encountering…
Familiar elements can be clichéd but also useful. Emphasize a particular trope too much and it becomes tired and tedious. Use a trope carefully, especially when connected to other tropes within a wider framework, and the various pieces can add up to a satisfying whole. The key aspect here is judicious treatment, ensuring that the…
For teenagers and storytellers alike, it is a cliché to say that high school is hell. The Dead Ones takes this concept rather literally, in the first of a series of clichés featured in this problematic and not very scary teen horror. A central quartet, who appear to hail from the same archetype roster as…
White Lie opens with protagonist Katie Arneson (Kacey Rohl, “Red Riding Hood”) shaving her head. Combined with the title, this opening scene may well prompt the viewer to form an initial interpretation. While this first impression may be proved right, the film subsequently goes in several unexpected directions, probing deep and prompting unexpected reactions. Katie…
Why am I here? What is the meaning of my existence? What happens when I die? What is the mind? What is my personality? Why am I? Deep and profound questions, well suited to a long cinematic chin-stroker such as Andrei Tarkovsky’s “Solaris” and Terrence Malick’s “The Tree of Life.” Or a swift, snappy animated…
