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Emily Kubincanek

Emily Kubincanek is a Senior Contributor for Film School Rejects and resident classic Hollywood fan. When she's not writing about old films, she works as a librarian and film archivist. You can find her tweeting about Cary Grant and hockey here: @emilykub_
The Reckless Moment Joan Bennett

The Suspense of Domesticity in Max Ophüls’ ‘The Reckless Moment’

By Emily Kubincanek 

This lesser-known film noir starring Joan Bennett depicts how overwhelming being a woman and a mother was during the mid-20th century — and within a genre usually reserved for men.
No Way Out Sidney Poitier

‘No Way Out’ and the Best of “Social Message” Film Noir

By Emily Kubincanek 

Sidney Poitier’s first big role was also the film that finally showed America just how ugly their racist ideals really were.
The Uninvited 1944

The Original Ghostly Thrills of ‘The Uninvited’

By Emily Kubincanek 

Everyone loves a good ghost story. You have this film to thank for their popularity in cinema today.

Madam Satan

The Flop that Ruined Musicals for Cecil B. DeMille

By Emily Kubincanek 

We look at the 1930 film ‘Madam Satan’ — where it fails and where it accidentally succeeds.

Johnny Eager

Romance, Crime, and Queer-coding in ‘Johnny Eager’

By Emily Kubincanek 

The queer storyline and fascinating lives of the lead actors set this film apart from other crime romances before and since.

Tcm Rebrand

The Turner Classic Movies Rebrand Signals a Bright Future for Old Movies

By Emily Kubincanek 

TCM adopts a new look that matches recent efforts to modernize how we see old movies.
Bordertown Paul Muni

The Contradictory Mexican-American Representation of ‘Bordertown’

By Emily Kubincanek 

The 1935 film relies on stereotypes but inadvertently shows the debilitating barriers that racism puts on Mexican immigrants.

My Name Is Julia Ross

Loss of Identity in ‘My Name is Julia Ross’

By Emily Kubincanek 

Suspense, camp, and social commentary are all on display in this early film noir.
Dementia movie

The Unsettling Appeal of ‘Dementia’

By Emily Kubincanek 

In 1955, John Parker’s experimental feature didn’t find its deserved audience. Today, we present it as an essential work of horror cinema existing in the canon beyond the classics.