Brody Rossiter

Falmouth University Film graduate and freelance journalist.
HeyUGuys •

The Greatest 80s Slasher Films

To celebrate the release of THE FINAL GIRLS, Todd Strauss-Schulson‘s knowing love letter to 1980 Horror Films, Brody Rossiter looks back to the finest examples of the slasher film genre. The term “slasher” conjures many terrifying yet thrilling images in the minds of horror cinema lovers. From the vibrant giallo cinema of the late 1960s, to the birth of the contemporary slasher flick in the dying days of the 1970s, the murderous genre has left a crimson blood trail that can be traced back through several decades.
Bright Wall/Dark Room •

Bright Wall/Dark Room: 'The Distance between Brothers and Strangers', from the March 2015 issue "Music, pt. 2: Musicians & Fans"

I first learned how to strum guitar strings and press upon piano keys in high school. By college, I understood how to apply pressure in all the correct places. I was taught how to filter melodies through mixing desks and computer screens, turning music into teenage trinkets trapped upon compact disks crudely scrawled with marker pen and burned with borrowed verse. In university, I clung to a wooden body and nickel-wound strings (a satisfying mix of heavy and light gauge) to get me through the...
HeyUGuys •

Chasing the Dogs: Charting American Independent Film Post-Tarantino

The lineage of American cinema is as broad as it is historic. So often Hollywood’s thunder and flash draws the focus, and increasing ire, of the audience inhabited world beyond studio system walls and A-lister trailers. Yet, despite such a rich and iconic pedigree resonating throughout the last hundred years of filmmaking, big budget blockbuster spectacles no longer stand alone, teetering atop the silver screen mountain.
HeyUGuys •

Spectacle and Sacrament: How Hollywood's depiction of The Bible has Evolved

Now the earth was corrupt in God’s sight and was full of violence. God saw how corrupt the earth had become, for all the people on earth had corrupted their ways. So God said to Noah, “I am going to put an end to all people, for the earth is filled with violence because of them. I am surely going to destroy both them and the earth. The world we inhabit is a violent one, rife with chaos and destruction both man-made and of natural, or perhaps, depending upon your personal series of beliefs...
HeyUGuys •

Making Monsters – The Many Men of Fassbender & McQueen

“Man, that plausible creature whose wagging tongue so often hides the despair and darkness in his heart” Dennis Wrong What makes a monster? What makes a man? In the filmic worlds of London born director, Steve McQueen, many tortured attributes and twisted ailments of masculinity intersect to form a deeply unsettling, yet unflinchingly candid, portrayal of male protagonists. The man McQueen has so often, and so memorably, chosen to depict these fractured representations is no other than Michael
HeyUGuys •

Lost... and Found in Space - The Human Experience of Gravity

An eternal backdrop of the unknown; the pinnacle of human exploration; the birthplace of all mankind – from the tiniest of details to the most astonishing of revelations, we have learnt much of outer space during our time upon this planet, yet a vast galaxy of mystery still lies beyond the clouds. Perhaps this sense of unparalleled wonder is why space has provided the perfect proving ground for many of cinema’s most powerful and revelatory fables concerning human self-discovery. Alfonso Cuarón’s
Bright Wall/Dark Room •

Heartbreak on the Edge of Town: The Early Films of David Gordon Green

Prior to the narrative missteps of stagnant stoner comedies, medieval make-believe and midnight child-minding misadventure, director David Gordon Green carefully crafted graceful, heartfelt and deeply moving cinema. The young filmmaker’s insular stories shadowed unremarkable individuals through rural small town communities, observing their relationships with one another, allowing seemingly mundane narratives to shudder with emotion before soaring skyward upon a vapour trail of eloquent
FILM IN WORDS •

Fighting Talk: Vanilla Sky

One of the first academic essays I wrote during the POSTMODERNITY module of my film degree was regarding postmodern representations present within Cameron Crowe’s 2001 Sci-fi romance drama, Vanilla Sky, and the original Spanish film from which it was adapted, Abre Los Ojos (Open Your Eyes). I chose Vanilla Sky for two reasons; firstly because of its stimulating aesthetic, thought-provoking content and especially its quintessentially postmodern labyrinth of a plot – in the sense that irrespective
Rushes Magazine •

Rushes Magazine Issue 01

ISSUE 01 of RUSHES MAGAZINE was a joint enterprise between Falmouth University Film students, specifically those specialising in film journalism and event management during their third and final year of study. It was the culmination of great deal of hard work on behalf of the RUSHES, PIXELATE, and FILM AT FALMOUTH teams and was utilised as a means of showcasing the many talented writers present upon the course. The magazine was distributed during the 2012 PIXELATE film festival to both industry professionals and festival attendees. I acted as Editor-in-chief for the project, and and interview I conducted with Hollywood star and indie director, Edward Burns, is also featured inside.
Little White Lies •

Aaron Katz – Articles | Little White Lies

With Cold Weather on DVD this week, director Aaron Katz talks mumblecore, collaboration and werewolves. Credited as a founding member of the Noughties mumblecore movement, director Aaron Katz has made a name in crafting heartfelt examinations of the human condition. His previous films Dance Party, USA and Quiet City exhibit a reserved exuberance free from the contrarieties of Hollywood’s heroin chic hyperbole, both proving refreshing explorations of youth in all its neurotic glory.