Darkest Hour stands apart from more routine historical dramas.
A review of FX's "The Bastard Executioner."
Women taking action in Hollywood; Contrasting "Safe" and "Still Alice"; Bridge between love and lipstick; Adrià Julià on Rocky Ascending; What "American Sniper" says about America.
If, like me, you were spellbound by each season's opening credits for "The Wire," you must see the short film analyses of them by critics Andrew Dignan, Kevin B. Lee and Matt Zoller Seitz at Moving Image Source (published by the Museum of the Moving Image). Using the actual footage, along with still frames and zooms (aka "the Ken Burns effect"), these short films examine the credits in critical detail, treating them as short movies unto themselves. Which is exactly what they are. Each season of "The Wire" introduced a new opening montage (cut to various recordings of Tom Waits' "Way Down in the Hole") to set the scene. (Also see the Opening Shot essay for "The Wire.")