Deborah Kerr had Hollywood calling after her starring role in 1947’s “Black Narcissus,” the gothic horror from filmmaking duo The Archers, Michael Powell and Emeric Pressburger. Oblogatory explores why this film still rings out 75 years later.
Oblogatory reviews Brian De Palma’s “Blow Out,” with John Travolta. See how it syncs up to Antonioni’s “Blow Up.”
Oblogatory loves dark comedy and ’40s screwball antics, so why does “Arsenic and Old Lace,” starring Cary Grant and Peter Lorre, leave a funny aftertaste?
Oblogatory puts every flaw in “Blow Up” under a magnifying glass, reexamining Michelangelo Antonioni’s thriller co-starring Vanessa Redgrave.
Oblogatory spends six hours in a theater to learn why Barbieheimer, the dual release of “Barbie” and “Oppenheimer,” was profitable for all.
Oblogatory starts its “Mr. President” themed month with “Absolute Power,” a movie in which Clint Eastwood faces off against a man with… well, you get it.
“Oblogatory” and “Why Does Hollywood?” investigate the latest doll of the LGBTQ+ community, including her placement on a shelf alongside classic villains.
Oblogatory reopens a cold case with “Cruising,” Al Pacino and William Friedkin’s flawed and controversial look into the ’80s NYC bondage scene.
Oblogatory watches “Frenzy,” Alfred Hitchcock’s last masterpiece. Obsessed with neckties, this wronged-man thriller is ironically unrestrained when it comes to showing violence.
The early 90’s was a rising tide for Black Cinema. Oblogatory watches “Surviving the Game,” a boat that should not have been lifted.