Film

James Gray continues to prove himself as one of the unseen heroes of modern cinema with each and every film he releases. His dedication to form, his deep sympathy for each of his characters, and his ability to muster the most sensitive performances out of his actors are just a few reasons why he's one of the best American directors we have. He also tackles similar themes throughout most if not all of his films such as family, loyalty, regret, love, and time. There is one rumination, however, that James Gray explores better than most other filmmakers have ever dared to try: the contents of the American Dream. What it is, where it's coming from, where it's going. In this article, the writer could examine many of James Gray's films, specifically his New York stories which include "Little Odessa", "The Yards", "We Own The Night", "Two Lovers", "The Immigrant", and "Armageddon Time" as a means to uncover how James Gray explores the idea of the American Dream, how New York City plays such a key part in that story and idea, and what it means to all of the different types of people that golden idea has affected (including himself).

Paul Verhoeven's sci-fi action film "Starship Troopers" has long been celebrated for its satirical take on militarism and fascism. However, some critics have proposed an intriguing reinterpretation of the film in the context of the post-9/11 era.

The writer could examine how the film's themes of propaganda, military intervention, and the dehumanization of the enemy resonate with the post-9/11 political climate in the Western world.

Analyze specific scenes and narrative elements that parallel events and attitudes surrounding the 9/11 attacks and the subsequent "War on Terror." Consider the implications of viewing "Starship Troopers" through this new lens, including its commentary on nationalism, surveillance, and the erosion of civil liberties in the wake of a national tragedy.

Look at how films like John Wick, Kickboxer Vengence and potentially films like the Bourne series or Taken have taken the more modern approach to fight scenes, but still integrate the mystical or 'unknowable' martial artist that make the protagonist a superhero. How have these films shifted in the last 30 years? Are the protagonists existing in a superpower zone or more in reality than classic martial arts films?

How does Takeshi Kitano, a prominent Japanese television personality who debuted his film directorial career with 'Violent Cop' in 1989, subvert the typical stylistic elements of action thrillers and sex in drama film in 1980s and 1990s cinema?

How can we interpret the depictions of sex and violence in movies such as 'Violent Cop,' 'Boiling Point' (1990), Sonatine (1993) and Hana-bi (1997)? How do they differ from conventional American action and drama of this period?

Does Takeshi Kitano's subversions of the genre serve to critique its tropes and the genre itself, or to reinforce them and create a new status quo in the depiction of sex and violence in cinema?

For quite some time now, there has been a drastic decline in the appreciation of superhero films. Whether it is because of the poor CGI (no blame to the artists), the numerous films and shows pumped out every year, or that most of the films are made on unknown characters, more and more complaints have come out detailing the audience's distaste. New characters have been introduced with little applause and the universe of the MCU in particular has become a laundry list to keep up with. Every film is interconnected, making for a difficult watch to get through over 25 films and numerous shows to supplement.

Despite all that, there has been an immense amount of anticipation for the upcoming film "Deadpool and Wolverine". This film has started to be hailed as the savior for the MCU, with many saying Deadpool is going to be the one to bring Marvel back to its "glory days". How did this film come to be this anticipated? Is it the characters? Actors? There are numerous factors at play, making this film at the top of many to-see lists. Whether this will flip the narrative surrounding the MCU and superhero content as a whole is yet to be seen, but there is a lot riding on this film.

This topic invites writers to delve into the portrayal of fatigue and its impact on superheroes in movies. From physical exhaustion to emotional burnout, explore how fatigue is depicted in superhero narratives. Analyze the storytelling choices, character developments, and the overall representation of fatigue, and discuss its significance in shaping the superhero genre. Consider the influence of real-world issues and societal expectations on these portrayals. Additionally, examine how filmmakers address the challenge of keeping superhero narratives fresh while acknowledging the toll that constant heroics may take on these iconic characters.

Analyze the progression of the antihero trope. How does it reflect changing social anxieties? Look at examples from classic cinema to modern streaming hits.

The article can be structured as a timeline first. Film Noir laid the groundwork, and TV's prestige era exploded the antihero trope. Film Noir is a classic antihero breeding ground (cynical detectives, femme fatales, etc.). Another excellent point to cover here would be to highlight TV's greater creative freedom and depth that allowed for more nuance than cinema often could. Now, I cannot think of all the classic movies, but some ideas do come to mind. Of course, there are many more examples to dissect properly.

40s/50s film noir has “The Private Detective” such as Philip Marlowe (The Big Sleep), Sam Spade (The Maltese Falcon) – world-weary, morally compromised, yet with an inner code. Then we had the “Femme Fatale” trope. Think Phyllis Dietrichson (Double Indemnity) – manipulative, uses sexuality for her own goals, challenges traditional female roles.

60s/70s Westerns saw a different breed altogether, I believe. First, you got the spaghetti Western Antihero, still relatable. A good example would be Clint Eastwood's "Man with No Name" (A Fistful of Dollars, etc.) – self-serving, violent, but audiences root for him against even worse figures. Soon afterward, they were quick to offer more revisionist examples in cinema. There are many examples of this one but the main one is William Munny (Unforgiven) – haunted by past sins, questions the "heroic" myth of the cowboy.

Then let’s come to the 70s/80s. This is the neo-noir and crime thrillers age, kind of like an evolution. Travis Bickle (Taxi Driver) is the prime example here. Deeply disturbed but the isolation-amid-urban-decay is a point that almost every city-dweller can relate with, pretty much. Thelma and Louise covers women taking agency, breaking free, and similar concepts, even when it means violence. This is an early example of the female antihero, and worth highlighting.

2000 onward we have the TV/streaming age. Three examples here: 1) Tony Soprano (The Sopranos) – quintessential modern antihero – mobster, yet we see his family struggles and therapy humanize him. 2) Walter White (Breaking Bad) – from mild-mannered to ruthless drug lord, his transformation is both horrifying and strangely compelling. 3) Joe Goldberg (You), Villanelle (Killing Eve) – pushing boundaries, playing with audience sympathy

Audrey Hepburn, Julie Andrews, Vivien Leigh, Marilyn Monroe, and several other actresses are legends in Hollywood history. Although most are now deceased, these women have made indelible marks on their genres and the film industry as a whole. Most of these "screen queens" are in fact so iconic, one mention of certain films they starred in brings that actress to mind. Some have played roles so well, their names are inextricably linked with their characters, to the point that some viewers believe no one else could ever fill that actress' shoes.

Compare and contrast 2-3 of these "screen queens," or others you might think of. What did they bring to iconic roles that arguably, no one else could? What did their presence do for Hollywood history, and what changes did they precipitate? Can any of today's actresses hope to live up to these women, and are there in fact "modern" versions of them today? If yes, do the modern actresses do their forerunners justice?