Inside this issue:
Madeleine Koestner speaks with director Alex van Warmerdam about Drafthouse Films’ latest hot ticket — his 2013 Palme d’Or-nominated “dark suburban fable,” Borgman.
PULLING THE WEBS
Max Weinstein goes behind the visuals of The Amazing Spider-Man 2 with Head of Digital Effects, Sony Imageworks’ David Smith.
Joe Yanick and Tony Yanick’s comparative analysis of Michael Haneke’s 1997 and 2007 versions of Funny Games reaffirms both films’ bleak social consciousness.
CULT OF FAUX-REALITY
Max Weinstein sits down with writer-director Ti West to delve into his fake documentary that deals with unmistakably real issues, The Sacrament.
THE TERRITORIAL IMPERATIVE
Colin McCracken holds Sam Peckinpah’s controversial home-invasion drama, Straw Dogs, up against writer-director Rod Lurie’s 2011 remake, with words from Lurie.
FROM DARKNESS, LIGHT
Christopher Bruno’s retroactive reading of Terence Young’s Wait Until Dark proves there’s more to home invasion than meets the eye.
THE DEVIL MADE US WATCH IT: THE LAST HOUSE ON THE LEFT
“It’s only a movie…” Or is it more? Alexandra West’s column takes a closer look at Wes Craven’s The Last House on the Left.
ART OF DARKNESS: SCHEER VISION
Joe Yanick speaks with actor/comedian Paul Scheer about the creative freedom of writing for comics that comes with his original series, Aliens vs. Parker.