The man looks unassuming. He’s Teodoro Ulber (Nathán Pinzón), a middle-aged English professor, short and squat with proper manners and nice clothes. He’s timid in the company of women; reserved around men. But little children seem to like him, even … Continue reading EL VAMPIRO NEGRO
A master among masters, the filmography of Martin Scorsese is nothing to sneeze at. Raging Bull, GoodFellas, The Irishman—you know the lineup. But what sometimes gets overlooked are the documentaries, a dozen of them, personal and nuanced works that play like B-sides … Continue reading THE LAST WALTZ
Memory is the selection of images. Some elusive, others printed indelibly on the brain. Each image is like a thread, each thread woven together to make a tapestry of intricate texture. And the tapestry tells a story, and the story … Continue reading EVE’S BAYOU
There once was a time in the not-too-distant cinematic past when the world was still largely undiscovered, and areas of the planet were a mystery to modern man. What beasts lived on these islands? What creatures were in these jungles? … Continue reading THE LOST WORLD
Between the New York City crime drama Wolfen, the iconic An America Werewolf in London, and the L.A.-based horror-comedy The Howling, something lycan was in the air back in 1981. It is unknown why werewolves were suddenly popular again—they had been dormant for the … Continue reading THE HOWLING
Movies are wondrous. Magical, moving pieces of art crafted by human hands, designed to explore the very essence of the human condition and, in many cases, instill hope in current and future generations. The same cannot be said of the … Continue reading LUX ÆTERNA
A jitterbug contest. Hot rods drag race on a mountain road. A violent car crash. A woman wanders the Hollywood Hills with a head injury. A man recounts a dream of meeting a monster living behind a diner dumpster. A film … Continue reading MULHOLLAND DRIVE
It opens like any other western: Sepia soaked still photographs of settlers in wagons traversing a wild frontier while title cards credit the actors, the filmmakers, and the dedication. Then the pictures begin to move. In the background, a lone rider … Continue reading BUCK AND THE PREACHER
The colors belong to the French flag, the corresponding ideas of the Republic: blue, white, and red—liberty, equality, and fraternity. For France, these colors, these ideas, are political. They guide the nation the way Jefferson’s decree, “We hold these truths … Continue reading THREE COLORS
Michael J. Cinema 
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