<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Character Study - vo.rs</title><link>https://vo.rs/tags/character-study/</link><description>Latest from the Character Study desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Mon, 09 Feb 2026 10:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/character-study/" rel="self" type="application/rss+xml"/><item><title>Mikey and Nicky: Cassavetes Directs a Gangster Night</title><link>https://vo.rs/screen/mikey-and-nicky-cassavetes-directs-a-gangster-night/</link><description>&lt;p&gt;There is a whole subgenre of the American crime film that has almost nothing to do with crime. The robbery is offscreen or already over; the money is gone or never mattered; what fills the frame is two men talking, circling, lying to each other about things that stopped being negotiable years ago. Elaine May&amp;rsquo;s &lt;em&gt;Mikey and Nicky&lt;/em&gt; (1976) is the purest example anyone has managed, and for decades it was also the hardest to see. It sat in a vault, sued over, recut, misunderstood, until a restoration finally let people watch the thing May actually shot. What they found was a gangster picture with the manners of a marriage counselling session and the pulse of a horror film.&lt;/p&gt;</description><pubDate>Mon, 09 Feb 2026 10:00:00 +0000</pubDate></item></channel></rss>