Re-Animator
Screenplay by
Gordon
Gordon Movie Reviews
Blog Posts That Mention Gordon
What You Do is Who You Are: Irena’s Vow Screenwriter Dan Gordon on Telling the Story of a Teenager Who Saved Jews During the Holocaust
How Stuart Gordon’s Re-Animator Shaped the Horror Landscape
Joseph Gordon-Levitt’s Mr. Corman is a Misguided Attempt to Finger-Wag at White Privilege
Heroes Among Us: Dominique Fishback and Joseph Gordon-Levitt on Project Power
Stuart Gordon: 1947-2020
Comic Timing: Emily V. Gordon and Kumail Nanjiani on “The Big Sick”
Making Something Out Of Nothing: Will Speck and Josh Gordon on “Office Christmas Party”
Herschell Gordon Lewis: 1929-2016
Documentary Buddha: Gordon Quinn on the Legacy of Kartemquin Films
Roger’s Favorites: David Gordon Green and Jeff Nichols
AFI Docs 2015: Morgan Neville and Robert Gordon on “Best of Enemies”
TIFF 2014 Interview: Al Pacino & David Gordon Green on “Manglehorn”
The art of darkness: Robert Yeoman on Gordon Willis
David Gordon Green & Tye Sheridan on the Creative Volatility of “Joe”
Joseph Gordon-Levitt discusses “Don Jon”
David Gordon Green’s Traveling Movie Circus
Remembering Jim Gordon
Jim Gordon: In Memory
Gordon Parks’ big score
Ossie Davis and Ruby Dee
Then They Will Learn: The Truth Behind Juneteenth
50 Years Later, Cooley High Is Still Alive
Rescuing a Movie About Angels From the Devil Himself: Kevin Smith on “Dogma”
Dancing With Death: Mike Flanagan on “The Life of Chuck”
April 2025 Blu-Ray Guide: “Anora,” “The Brutalist,” “Heart Eyes,” “One of Them Days,” More
The Florida Film Festival: An Oasis for Creative Souls
Female Filmmakers in Focus: The Films of Euzhan Palcy
Poetically in Love: Three Declarations of Love in Verse
HBO’s “The Righteous Gemstones” Return for Its Darkest Season Yet
Writing Her Way: Marya E. Gates on Her New Book
Fantastical Season 3 of AMC’s “Dark Winds” Is an Electrifying Series Best
Netflix’s “Running Point” is Pretty Funny if You Don’t Think About it Too Hard
Sundance 2025: Lurker; Free Leonard Peltier; Oh, Hi
2025 Sundance Film Festival Announces Ambitious Program
Don’t Miss IndieCollect’s RescueFest This Weekend
Breakfast Is Served—Again: Alan Rudolph on the reissue of “Breakfast of Champions”
CIFF 2024: On the Legacy and Importance of The Spook Who Sat by the Door
Home Entertainment Guide: October 2024
Let the Game Begin: “Saw” at 20
Criterion Adds Val Lewton Double Feature to the Collection
Bird on a Wire: Kris Kristofferson (1936-2024)
TIFF 2024: The Cut, The Luckiest Man in America, Nutcrackers
Peacock’s “Fight Night” Largely Entertains But Pulls A Few Punches
TIFF 2024: 20 World Premieres We Can’t Wait to See
13 Films Illuminate Locarno Film Festival’s Columbia Pictures Retrospective
Book Excerpt: A Complicated Passion: The Life and Work of Agnès Varda by Carrie Rickey
The Most Vital Actress of Her Generation: A Goodbye to Gena Rowlands
Prime Video Has What Batman Fans Need in Caped Crusader
The Hard Road: Alex Cox on Crowdfunding, Success, and a Life in Independent Filmmaking
There Will be No Questions: The Parallax View, the Ultimate Conspiracy Thriller, Turns 50
Flying to the Moon: Ten Films About the Apollo Program
Robert Daniels & Odie Henderson Talk Wild Wild West at 25
The LightReel Film Festival Finishes Strong
The Presumed Innocent Movie Was a Highlight of Hollywood’s Page-Turner Era
Don’t Check into MGM+s Hotel Cocaine
Home Entertainment Guide: May 2024
A Good Reason to Be a Coward: Jim Cummings on The Last Stop in Yuma County
The Unloved, Part 125: Mother Night
New 2025 Oscar Rules Specify New Composer Eligibility, Inclusion Requirements, No More Drive-In Eligibility
When Paul Simon Bombed at the Movies
True/False 2024: A Photographic Memory, There Was There Was Not, Three Promises
Like and Survive: Horror Cinema’s Anti-love Affair with Podcasting
You’re Naked Without Us: A Report from the Costume Designers Guild
Dead Ringers: Rebirthing Body Horror
A (Not So) Brief History of Silent Film Influences on Pop Music
Berlin Film Festival 2024: Abiding Nowhere, Pepe, No Other Land
I Used to Hate The Phantom Menace, but I Didn’t Know How Good I Had It
A Farewell from Our Literary Editor, Matt Fagerholm
Book Excerpt: Black Caesars and Foxy Cleopatras: A History of Blaxploitation Cinema by Odie Henderson
2023: The Year of the Teacher
How We Got Here: Ava DuVernay on Origin
The Great Performances of 2023
The 25 Best TV Series of 2023
Short Films in Focus: Troy
Coffee Table Books on The Wicker Man and Halloween Should Satisfy Horror Fans
A Goodbye to Shaft, Hollywood’s First ‘Bad’ Black Man: Richard Roundtree (1942-2023)
An Unforgettable Performer: Piper Laurie (1932-2023)
Criterion Releases Special Edition of Nicolas Roeg’s Masterful Walkabout
TIFF 2023: Sleep, Boy Kills World, Riddle of Fire
Triage Is a Huge Part of Filmmaking: Laura Moss on Birth/Rebirth
Ridiculously Imaginative, Grounded, and Poetic: Director Marc Turtletaub on Jules
Fantasia 2023: Mayhem! (Farang), Hippo
Dark Winds Proves Itself a TV Noir Mainstay in Its Second Season
A Look Back at Tribeca 2023
A Critical Look at The Color of Money
FX’s The Bear Continues to Reach for Greatness
Meet the Writers of Black Writers Week 2023
The Righteous Gemstones Treads Familiar Ground in Season Three
Tribeca 2023: Suitable Flesh, You’ll Never Find Me, Bad Things
The Foundation for the Augmentation of African Americans in Film Hosts The LightReel Film Festival June 8-10 in Washington, D.C.
A Gold Mine of Material: George Griffith on From the Head and Twin Peaks: The Return
Chicago Critics Film Festival 2023 Preview: Chicago Premieres of Acclaimed Films from Around the World
10th Chicago Critics Film Fest Features Past Lives, Blackberry, Sanctuary, Theater Camp, and Many More
A Road Paved with Bloodshed: High Plains Drifter Turns 50
The Marvelous Mrs. Maisel Figures It Out in Smart Final Season
The Consummate Collaborator: Bill Butler (1921-2023)
The Rewards are Endless: Scott Ryan on His New Book, Lost Highway: The Fist of Love
Women Writers Week 2023: Table of Contents
