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.
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…
The ghost story is common in the cinematic output of many countries. From the Mexican “The Devil’s Backbone” to the Spanish “The Orphanage” to the Japanese “Dark Water” and the British/Iranian “Under The Shadow,” as well as the renowned classics “The Haunting” and “The Innocents,” the ghost story has proven itself versatile and adaptable to…
The expectations for Patty Jenkins’ follow-up to her 2017 commercial and critical success “Wonder Woman” are high. Amidst the morass of the DC Extended Universe, Wonder Woman emerged as a resplendent beacon of dynamism and joy. With this success, and a rich back catalogue of stories to draw from, where Gal Gadot’s Diana Prince went…
The opening supertext of Wander draws attention to “indigenous, black, and people of color,” refers to “government violences,” and “change,” and highlights that the film was shot on the homelands of indigenous peoples. Released in 2020 shortly after the presidential election, it is tempting to see this film in the light of progressive change and…
The Funeral Home, “La Funeraria” in its native tongue, is a gloomy and moody Argentinian haunted house tale. Written and directed by Mauro Iván Ojeda, the film pervades both its atmosphere and characters with gloom and moodiness. The titular domicile is the home and business of undertaker Bernardo (Luis Machín, “The Moneychanger”), a man crushed…
Neil Marshall has had a patchy career. From his riotous debut “Dog Soldiers” (re-issued in 2020) to his claustrophobic caving classic “The Descent,” his filmography sunk (or descended) into the highly derivative and uneven “Centurion” and “Doomsday,” before he applied his talents to television with “Game of Thrones” and “Hannibal,” among others. After the disastrous…
The slasher film and stand-up comedy have some commonalities. Both rely on suspense and release, in one case the release being laughter and in the other, fear. Both can build up suspense with short sequences, be that a feedline/punchline structure or a jump scare; both can also escalate tension with a long form story leading…
