With the exception of a few of the headers, all of the images in The Overlook are screen grabs. It's that we just changed our editorial policy to giving sources on all images that we post, instead of just the ones that are licensed.

Yeah, would've helped. In the case of Once Upon A Time In America, De Niro and Woods' characters are supposed to be in their early-to-mid-60s.

Oh, I like Tony Zhou's work, and there are a lot of smart people who work mostly in video essays. Heck, I've written about them here before.

Do you enjoy spot-on parodies of shitty things?

Its New Wave-era predecessor, Cineastes de notre temps, is regularly included on Criterion sets.

Needed an extra syllable before dude or else it wouldn't flow right.

(Or, as I mentioned below, it's free if you have Amazon Prime.)

She's consistently good-to-great or at least interesting in anything that isn't Twilight. (See also: Pattinson, Robert.)

He was more of a Fritz Lang man, from what I gather. There are overt visual nods to Metropolis in The Story Of Molly X, his women's prison noir.

It's free on Amazon Prime. It's one of those movies that never had a legit home video release, but shuttles between streaming services. (It used to be on Netflix Instant.)

Big fan of Crash, and I think part of the key to that film's numbed eeriness is that fact that Cronenberg tends to use just one lens per movie (between 21mm and 28mm), which is fairly unusual, and gives every shot the same characteristics, regardless of whether they're called for or not—a visual analogue to…

FWIW, I'm not crazy about Dogtooth either, and I'd rate this movie even higher than Alex does.

That was supposed to get cut, and now is. (Initial draft was written from notes / memory; later revisited parts to check and discovered that Moss' accent was nowhere near what I remembered.)

Y'all are thinking about the stuff in the frame (props, costumes, etc.), but one real reason why it's a bad idea to give an actor an open container of liquid is all the stuff you don't see.

Super 16mm cameras are lighter and smaller and the stock is cheaper and goes a longer way.

Orwo is the bee's knees.

They certainly don't. And while those cameras are fine for a work-at-your-own-pace shoot where the end result is being delivered to Vimeo graded in shades of bronze and brown, they can't hold up in a feature production environment. The options are basically Alexa or film.

How much do you think digital production cameras cost? (And I'm not talking hobby-level stuff like the BMCC.)

Yes. And plenty of stuff gets shot on Super 16mm, both film (e.g. Carol) and TV (e.g. The Walking Dead).

Productions still shoot on film. What's fallen away is the mid-budget market.