Interview: Glenn Close and Annie Starke on The Wife, Sacrifice, and Diversity | Oil-Proof Way Covers<br />

Such is a necessary philosophy in Alleghany County, one of the state’s most sparsely populated areas. The median household income in Sparta is $30,845, 68 percent of the state average. In the last 25 years, several factories have closed. The Dr. Grabow Pipe plant, which employed 2,000 people when it opened in 1943, maintains a small percentage of that number now.

With the prototypical slasher Psycho, Hitch was abetted by Anthony Perkins’ twitchy turn as Norman Bates and composer Bernard Herrmann’s indelible music (the piece heard during this scene was perfectly and simply called "The Murder"), not to mention the flesh and screams of Janet Leigh. Killing off your main character halfway into your film wasn’t exactly standard operating procedure in 1960 either, but then again, little about Hitchcock was ever standard.

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While the basics of the narrative are familiar from other stories about how Colombia tore itself apart serving America’s drug culture, Birds of Passage stands apart for Gallego and Guerra’s studied focus on the drip-drip-drip of traditions falling before encroaching modernity as Rapayet’s family grows in wealth and shrinks in awareness. Also, their arresting visual sense power the story in the eeriest of ways, from the sweeping vistas of desert and sky to the surreal appearance of a glistening white mansion where an ancient village once stood.

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Night of the Living Dead and The Crazies have a docudramatic immediacy that suggests “found footage” before the concept had attained a name and a cemented series of tropes. This familiarity is a problem for Diary of the Dead, which follows a college film crew as they travel the countryside of Pennsylvania, capturing the rise of the dead for posterity and pontificating obviously on how cameras divorce people from life. There are choice words for Myspace and a superficial and self-absorbed media based predominantly on DIY reporting. Romero anticipated the bitter and nihilistic online era of “fake news,” and so Diary of the Dead is more resonant now than it was a decade ago. The zombie execution scenes are cheeky, but there’s little to distinguish this often flat and meandering film from many other found-footage horror quickies, which look more fake than most un-self-consciously fake productions.

As usual with Romero’s zombie films, there’s plenty of thematic meat to chew in Day of the Dead. Trapped in an antiquated WWII bunker, a group of military and scientific professionals attempt to survive the rise of the undead in two familiar fashions: with reactionary force and intellectualism, respectively. A horror legend with unimpeachable liberal credentials, Romero favors the intellectuals, though one of them, Dr. Logan (Richard Liberty), is also crazy, betraying the barbarous military to use the corpses of slain soldiers for experiments. Which is to say that Logan is a resonant right-wing nightmare of the intellectual who’ll sell his country out for knowledge that might not even matter, yet Day of the Dead is more stimulating to discuss than to watch. After a promising opening, which features a few of Romero’s most graphic and iconic images, the film goes to sleep. The characters are caricatures, which is a stark departure from the fascinating humans of Night of the Living Dead and Dawn of the Dead, and so one’s inspired to impatiently await for the carnage to arrive.

The depth of All About Eve’s social rancor is virtually unparalleled in classic film. Joseph L. Mankiewicz’s effervescent cynicism is as observant as Billy Wilder’s, but while the latter views human nature as a set of perpetually losing odds one must wager against regardless, the former understands the essence of relationships as a constantly shifting compromise of ego. The film is a sour exploration of the raw deal offered to both sexes by gender roles, and how we strive to regain that lost ground through interpersonal viciousness. What makes Mankiewicz’s approach gently revolutionary is the female leads’ reluctance to sit back and passively transform from objects of desire into (bluntly) mothers or wives. Even Eve Harrington (Anne Baxter), whose transparent deception is still the film’s least interesting aspect, sees her attractiveness as the means to an end: It’s power, not sex, that she wants. The film’s climax, where Eve’s web unravels around her throat, and its cyclical epilogue may put her and Margo Channing (Bette Davis) back in their place with far-fetched ferocity. But Mankiewicz grants them their dreams with surprisingly little patriarchal compromise: Margo escapes the stage’s unforgiving clutches, and Eve wins success at what is, really, a nominal social fee. The refreshing implication is not that women need men to succeed, but that both sexes may need one another to keep their respective evils in check. Joseph Jon Lanthier

There were many athletes at the Shepherd Center: a gymnast, bull rider, Division I baseball player, several divers and another wrestler. There were also patients who suffered fluke accidents, like stumbling to the ground reaching for a penny.

This scene capped off a darkly humorous satire of the Cold War nuclear scare — and the insanity surroundingi it all. Slim Pickens was perfect in the role of Major T.J. "King" Kong, and he literally went out with a bang in Dr. Strangelove’s final minutes. But don’t worry, Major Kong, we’ll meet again!

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