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Tags:FilmmakingLord of the RingsThe Queue

Lord of the Rings Sound Design
  • Meg Shields

The Sound Design of ‘The Lord of the Rings’

Turns out understanding how they designed the screams of the Nazgûl only makes them creepier.

Tags:Bloody Hell

Ben O'Toole in Bloody Hell
  • Rob Hunter

‘Bloody Hell’ Heads to Finland for One Hell of a Bloody Good Time

A tale of survival with killer Finns, a cannibalistic giant, and love. What more could you ask for?

Tags:2020 Rewind

Best Movies Collage
  • Film School Rejects

The 50 Best Movies of 2020

Follow along as we count down the 50 Best Movies of 2020, according to the team at Film School Rejects.

Tags:News of the WorldPaul GreengrassTom Hanks

Tom Hanks in News Of The World
  • Rob Hunter

‘News of the World’ Suggests Too Little Has Changed in America

There is violence here, but the warmth of human companionship takes precedence.

Jeff Cronenweth Perfect Shots
  • Brad Gullickson

From ‘Fight Club’ to ‘Gone Girl’: Jeff Cronenweth’s Five Perfect Shots

We select the five perfect shots that best represent this cinematographer's eclectic career.

Tags:NetflixOutside the Wire

Anthony Mackie in Outside The Wire
  • Rob Hunter

‘Outside the Wire’ Favors a Dull Lead Over Everything Else

Anthony Mackie as an android! Robot soldiers called Gumps! Too bad neither is the focus here.

Tags:The Queue

The Night Of The Hunter aesthetics of evil in film
  • Meg Shields

Evil Incarnate: The Aesthetics of On-Screen Villainy

From black hats to psychopaths, here's how filmmakers choose to represent evil on-screen.

Tags:Home Video

Patrick Wilson in Stretch
  • Rob Hunter

Our Pick of the Week Takes a Ride with Patrick Wilson

Plus 7 more new arrivals to watch at home this week on Blu-ray/DVD!

Tags:Commentary CommentaryJoe CarnahanStretch

Helms and Wilson in Stretch
  • Rob Hunter

24 Things We Learned from Joe Carnahan’s ‘Stretch’ Commentary

"This is as close to a rom-com as I'll probably ever do."

Tags:CinematographyThe Queue

Paprika Degree Rule
  • Meg Shields

What is the 180° Rule, Anyway?

It's the golden rule of film school and one of the most reliable tools in a cinematographer's toolkit. So, how does the 180° rule work?

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