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

The female gaze: 100 overlooked films directed by women

By Isabel Stevens, Bryony Dixon and others

The female gaze: 100 overlooked films directed by women
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

Stephen Frears: master or auteur?

By Brad Stevens

Stephen Frears: master or auteur?
10 great

10 great Graham Greene adaptations

By Brad Stevens

10 great Graham Greene adaptations
Features

A wider view: CinemaScope today

By Brad Stevens

A wider view: CinemaScope today
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

As tears go by: why do film characters cry at the cinema?

By Brad Stevens

As tears go by: why do film characters cry at the cinema?
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

Mirrors to the abyss: the radical doubling of Jane Campion’s Top of the Lake

By Brad Stevens

Mirrors to the abyss: the radical doubling of Jane Campion’s Top of the Lake
Features

How Twin Peaks stretches television into the unknown

By Brad Stevens

How Twin Peaks stretches television into the unknown
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

Mikio Naruse’s Wife: married to the mainstream

By Brad Stevens

Mikio Naruse’s Wife: married to the mainstream
Features

Queen of the Desert: Werner Herzog bows to Nicole Kidman

By Brad Stevens

Queen of the Desert: Werner Herzog bows to Nicole Kidman
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