Author Spotlight

Graham Fuller

Graham Fuller is film editor of the Arts Desk and an editorial associate at Cineaste. He has written about movies for Sight and Sound, Film Comment, Vanity Fair, and the New York Times. He has also contributed essays to the Criterion Collection’s releases of A Canterbury Tale, Walker, The Man Who Fell to Earth, The Hit, The Last Picture Show, Kes, and My Beautiful Laundrette.

8 Results
Trainspotting: Beyond the Tracks

Shifting recklessly between realism and surrealism, this drug-fueled odyssey from director Danny Boyle is a propulsive satire of depleted masculinity in urban Scotland.

By Graham Fuller

My Beautiful Laundrette: Postcolonialism in the Wash

Stephen Frears brings a playful and shimmering cinematic quality to Hanif Kureishi’s multilayered script about a Pakistani immigrant community in Margaret Thatcher–era London.

By Graham Fuller

Kes: Winged Hope
An Eagle for an Emperor, a Gyrfalcon for a King;   a Peregrine for a Prince, a Saker for a Knight, a Merlin for a Lady;   a Goshawk for a Yeoman, a Sparrowhawk for a Priest,   a Musket for a Holy water Clerk, a Kestrel for a Knave. …

By Graham Fuller

The Last Picture Show: In With the Old
Early in Peter Bogdanovich’s The Last Picture Show, as the wind from the Texas plains whips the small town of Anarene, the high-school senior Sonny Crawford (Timothy Bottoms) halts his recalcitrant pickup truck—Hank Williams is warbling “Why Do…

By Graham Fuller

The Hit: Road to Nowhere
Before the 1980s British film renaissance was curtailed by three ruinously expensive failures—Absolute Beginners, Revolution, and The Mission—it yielded a cluster of superb smaller movies, including Letter to Brezhnev, Caravaggio, and Mona Lisa. …

By Graham Fuller

Features

Charles Laughton: Size Matters

“Let me have men about me that are fat.” —Julius Caesar, act 1, scene 2 Just as Raymond Chandler’s Philip Marlowe admired small, brave men who stick to their principles, I like—in the movies at least—heavyset, flamboyant types who walk a

By Graham Fuller

The Man Who Fell to Earth: Loving the Alien

Science-fiction drama, western, love story, metaphysical mystery, satire of modern America—The Man Who Fell to Earth is the most beguiling of the films that, in a dozen years embracing the 1970s, established Nicolas Roeg as a mainstream heir to suc

By Graham Fuller

Walker: Apocalypse When?

At the climax of Alex Cox’s Walker (1987), a helicopter descends from the night sky onto a plaza where the colonial buildings are ablaze and an army of mercenaries is disintegrating . . .

By Graham Fuller