No film has seeped into the American unconscious quite like Francis Ford Coppola’s The Godfather. Widely considered to be one of the best films of all time, it’s captivating and feels like an exciting ride every step of the way.

But, the sequel doesn’t feel that way. It feels…different.

Michael Corleone encounters monumental business opportunities in Cuba, faces trial on a national level, and commits unexpected fratricide. He’s captivated the nation and outsmarted congressmen during his trial, but for some viewers, his film doesn’t hook them like its predecessor. …


Buster Keaton dangles from a water well after jumping off a train in Sherlock Jr (1924)

If there is one word to describe Buster Keaton’s filmography, it would be precision: a cinematic accuracy backed by intentionality. Sherlock Jr. (Keaton, 1924) is no different from the rest of his films. Compared to other films during this time period, such as Battleship Potemkin (Sergei Eisenstein, 1925) and The Thief of Baghdad (Raoul Walsh, 1924), Sherlock Jr. seem ahead of its time, rivaling the pacing and technical lyricism of the best ‘talkies’ released twenty years later. While most of his contemporaries were using title cards more frequently, Keaton only uses one title card in both scenes that I will…

Nick Boozang

Filmmaker. Writer. Hypothesizer.

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