All articles by Brad Stevens

Obituaries

RIP Monte Hellman, patron saint of obsessional cinephiles

A cult legend for his counter-culture classic Two-Lane Blacktop as well as multiple early Jack Nicholson vehicles and further 1970s gems with Warren Oates, Monte Hellman found his filmmaking road as stark as any of his protagonists’.

By Brad Stevens

RIP Monte Hellman, patron saint of obsessional cinephiles
From the Sight and Sound archive

Remake/remodel: 45 weird and wonderful alternative film cuts

By James Bell, Tom Charity and others

Remake/remodel: 45 weird and wonderful alternative film cuts
Lists

Forgotten treasures of the multiplex

By Ryan Gilbey, Nick James and others

Forgotten treasures of the multiplex
Reviews

Wasp Network review: a Cuban confusion

By Brad Stevens

Wasp Network review: a Cuban confusion
Reviews

Wasp Network review: a Cuban confusion

By Brad Stevens

Wasp Network review: a Cuban confusion
Features

Brian De Palma’s Domino is a puzzle

By Brad Stevens

Brian De Palma’s Domino is a puzzle
Features

The masks of Agnès: Varda’s self-portraits and performances on screen

By Brad Stevens

The masks of Agnès: Varda’s self-portraits and performances on screen
Features

“So nobody can lie”: Sam Fuller’s Falkenau and the morality of tracking shots

By Brad Stevens

“So nobody can lie”: Sam Fuller’s Falkenau and the morality of tracking shots
Features

Nell Shipman: an auteur in the wild

By Brad Stevens

Nell Shipman: an auteur in the wild
Features

Disrupting the director: when an auteur meets the Method

By Brad Stevens

Disrupting the director: when an auteur meets the Method
Features

The Wizard of Lies: three faces of Robert De Niro

By Brad Stevens

The Wizard of Lies: three faces of Robert De Niro
Features

The Other Side of the Wind: understanding Orson Welles’s ‘impossible’ film

By Brad Stevens

The Other Side of the Wind: understanding Orson Welles’s ‘impossible’ film
Features

Auteurists under cover: when acclaimed filmmakers take on TV assignments

By Brad Stevens

Auteurists under cover: when acclaimed filmmakers take on TV assignments
Features

Grace Elliott: a woman filming a woman interviewing a man

By Brad Stevens

Grace Elliott: a woman filming a woman interviewing a man
Features

Ulu Grosbard’s Georgia: a melodrama as mysterious as real life

By Brad Stevens

Ulu Grosbard’s Georgia: a melodrama as mysterious as real life
Features

The Freudian revenge of David Lean’s Madeleine

By Brad Stevens

The Freudian revenge of David Lean’s Madeleine
Features

The haunted house of patriarchy: how The Entity subverts mainstream horror films

By Brad Stevens

The haunted house of patriarchy: how The Entity subverts mainstream horror films
Features

Delusional Albion: how foreign directors saw Swinging 60s Britain

By Brad Stevens

Delusional Albion: how foreign directors saw Swinging 60s Britain
Features

Real men don’t read? In a Lonely Place and the self-loathing screenwriter

By Brad Stevens

Real men don’t read? In a Lonely Place and the self-loathing screenwriter
Features

One-offs and what-ifs: single-film directors’ rich roads to nowhere

By Brad Stevens

One-offs and what-ifs: single-film directors’ rich roads to nowhere
Features

Queen of the Desert: Werner Herzog bows to Nicole Kidman

By Brad Stevens

Queen of the Desert: Werner Herzog bows to Nicole Kidman
Features

Waking after hours: Ted Kotcheff’s influence on Martin Scorsese

By Brad Stevens

Waking after hours: Ted Kotcheff’s influence on Martin Scorsese
Features

Akira and Q & A: the joy of juxtapositions

By Brad Stevens

Akira and Q & A: the joy of juxtapositions
Features

The Private Affairs of Bel Ami: “A stick like that of Punch”

By Brad Stevens

The Private Affairs of Bel Ami: “A stick like that of Punch”
Features

Auteur at sea: Mike Nichols’ docu-thriller The Day of the Dolphin

By Brad Stevens

Auteur at sea: Mike Nichols’ docu-thriller The Day of the Dolphin
Features

How John Berger gave us new ways of seeing Hollywood cinema

By Brad Stevens

How John Berger gave us new ways of seeing Hollywood cinema
Features

Opfergang and Veit Harlan’s sexual subversions

By Brad Stevens

Opfergang and Veit Harlan’s sexual subversions
Features

I abject: the not-so-simple propaganda of Veit Harlan’s Jew Suss

By Brad Stevens

I abject: the not-so-simple propaganda of Veit Harlan’s Jew Suss
Features

Why Sweet Sweetback’s Baad Asssss Song is a radical blaxploitation classic

By Brad Stevens

Why Sweet Sweetback’s Baad Asssss Song is a radical blaxploitation classic
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