Author Archives: Sartaj Govind Singh

Bridge of Spies captures the Cold War in all its murky and paranoid detail. Throughout its running time, it paints a striking and often accurate picture of life under this tense and morally gray period in history. The film commendably … Continue reading →

For Your Eyes Only is a strange beast. On the one hand, it valiantly attempts to tell a down to earth, no-nonsense spy story in the vein of the Ian Flemming’s novels. The story is about the hunt for the … Continue reading →

You Only Live Twice is Sean Connery’s most expansive and entertaining James Bond adventure. It also has an interesting subtle tweaking of the Bond formula that makes it an eminently exciting film. One of these aspects is evident in the … Continue reading →

Guillermo del Toro’s last few films have been warm and affectionate love letters to specific genre fare. Pacific Rim neatly positions itself as a monster film with an inherently positive humanism shining through. With Crimson Peak, Del Toro creates a … Continue reading →

It Follows is a fascinating loving embrace of the slasher genre. One way in which it evokes this sub-genre of horror cinema is in its camerawork. The picture has these long takes, which manifest themselves in languid 360 degree panning … Continue reading →

Spectre is a maddening mix of franchise pleasing and potent thematic showcasing. The former of the two is overstuffed, to say the least. The film takes inspiration from several Bond films of yore even when it means stretching the bounds … Continue reading →

Night of the Living Dead is unquestionably a masterpiece of horror cinema because of its dizzying, surreal style and potent social commentary. However, on this viewing a new facet emerged that made my esteem for the picture grow to new … Continue reading →

A Girl Walks Home Alone at Night is the most audacious vampire film since Werner Herzog’s 1979 remake of Nosferatu. Its portrait of the fiendish creature is commendably minimalist. Sheila Vand, who plays the titular character, is merely dressed in … Continue reading →

Don Siegal’s Invasion of the Body Snatchers is impressive because of its potent bleakness, which slowly engulfs the film like a distant shadow that grows in size. The stark black and white look complements this all-encompassing feeling along with the … Continue reading →

Jackie Brown is Quentin Tarantino’s most underrated and unique film because his usual thematic fixations, motifs and techniques are fascinatingly repurposed. For example, his usual exploration of the self-constructed persona is used as a subtle change in attitude for the … Continue reading →