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The Love Witch | Review

Busty Black Magic: Biller’s Feminist Sexploitation Cinema Serving as a satire on pulp serials and brimming with all of the elements that would make Russ...

The Conversation: Cannes 2016 is the Year of the Cannibal

It was a markedly gruesome year on the Croisette in 2016 (including the perplexing awards recipients), with a notable slew of titles playing throughout...

Burying the Ex | Review

Ex to Grind: Dante’s ZomCom Never Finds Its Pulse Zombies are difficult subject matters for the screen. A staple of a popular subgenre, original...

IONCINEPHILE of the Month: Sean Baker

IONCINEMA.com’s IONCINEPHILE of the Month feature focuses on an emerging filmmaker from the world of cinema. This November, we feature Sean Baker, an independent...

Remains of the Day: Christopher Doyle at TIFF, Ballast on VOD, Barthes on Charlie Rose

Christopher Doyle's "Picture Start" (Doyle (Happy Together) reconsiders how images evolve before the director’s call to “action” and what happens to them after the “cut.” Doyle superimposes directives from traditional film leader on to the processed still film and filmmaking images he has created during his extensive career.

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