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(1948) |
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"A bifurcated love letter to Anna Magnani"
[movie review] |
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CinePassion |
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(1968) |
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"Harrowing disintegration"
[movie review] |
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CinePassion |
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(1984) |
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"An overwhelming treatise on the religiosity of romance"
[movie review] |
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CinePassion |
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(2006) |
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"A masterpiece"
[movie review] |
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CinePassion |
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3/4 |
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(1979) |
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"Coming after the dissolute wackiness of Ludwig and the cavorting valedictory of Conversation Piece, Luchino Visconti's swan song L'Innocente is something of a genteel and stately affair."
[movie review] |
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Slant Magazine |
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(1979) |
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"An adagio finale for a fortissimo career."
[dvd review] |
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Slant Magazine |
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(1983) |
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"A ripe, hallucinogenic field theory by Alain Robbe-Grillet"
[movie review] |
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CinePassion |
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(1971) |
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"A translucent comedy of procrastination"
[movie review] |
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CinePassion |
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3/4 |
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(2007) |
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"Gender and genre are continuously bent in La France, Serge Bozon's uniquely weird and often starkly beautiful experiment."
[movie review] |
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Slant Magazine |
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(1966) |
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"You can almost smell the powdered wigs in Rossellini's study of a dandified abyss."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1966) |
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"Despite accusations of academic dryness, Louis XIV can be an almost overwhelmingly physical picture."
[movie review] |
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Slant Magazine |
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(1947) |
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"Jean-Pierre Melville's great, too little-remembered debut, and a classic example of circumstance leading to aesthetic advance."
[movie review] |
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CinePassion |
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(2007) |
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"No regrets for Cottilard's dedication, but plenty for the clichéd pap of the biopic genre"
[movie review] |
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CinePassion |
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(2006) |
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"Peevishly defensive, intransigently personal and serenely indifferent to critical (and audience) reaction"
[movie review] |
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CinePassion |
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(2005) |
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"Talks Sin and Salvation while spending all his creative energies on debasing gags and sneering wide-angle shots"
[movie review] |
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CinePassion |
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(2006) |
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"A satisfyingly sarcasm-free ode to the flickering absurdity of romance"
[movie review] |
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CinePassion |
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2.5/4 |
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(2009) |
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"Eimbcke has an undeniable gift for deftly doleful wavelengths."
[movie review] |
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Slant Magazine |
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(2008) |
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"Lakeview Terrace isn't anywhere as wacky as LaBute's Wicker Man remake, yet the two reveal an artist too caught up with his misanthropic conceits to notice the ridiculous humor in them."
[movie review] |
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CinePassion |
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3.5/4 |
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(1988) |
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"What keeps the film from succumbing to the same orgy of artistic self-fondling is Angelopoulos's feeling for the characters as people rather than pawns."
[movie review] |
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Slant Magazine |
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(1988) |
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"Pensive, tender, unforgettable. The only film so far where Angelopoulos's traveling camera and stretched takes connect with emotions other than self-regard."
[dvd review] |
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Slant Magazine |
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1.5/4 |
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(2006) |
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"One might gladly exercise the film's carpe-diem moral by concluding that life is too short for movies like Last Holiday."
[movie review] |
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Slant Magazine |
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(2009) |
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"Unlike the Craven film, there's little of the audience implication that made these visions of violated innocence and draining retribution so troubling."
[movie review] |
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CinePassion |
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(2006) |
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"Pit stop for white liberal guilt and neocolonial pillaging"
[movie review] |
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CinePassion |
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1/4 |
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(2006) |
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"As if Hollywood films needed any outside help to celebrate arrested narcissism, along comes The Last Kiss, Tony Goldwyn's Americanization of the spurious Gabriele Muccino whinefest of the same name."
[movie review] |
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Slant Magazine |
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(1980) |
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"Was the Occupation ever this cute?"
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(1980) |
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"As a portrait of a time, Last Metro is a warmly performed and deftly shot trifle."
[movie review] |
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Slant Magazine |
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(2009) |
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"A limited but revealing look at Bogdanovich's remembrances of cinematic things past."
[dvd review] |
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Slant Magazine |
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(1943) |
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"A searching light on humanity's warts and pockmarks"
[movie review] |
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CinePassion |
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(1952) |
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"Delicate, savage, essential--infinite Plaisir."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1952) |
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"Le Plaisir illustrates not merely Ophüls's unparalleled sense of flow and texture, but also his proto-feminism."
[movie review] |
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Slant Magazine |
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(2008) |
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"Clooney stages screwball repartee like a ping-pong match shot through molasses"
[movie review] |
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CinePassion |
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(1958) |
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"A close, inspired study of Ford and Nicholas Ray, and a decisive source of inspiration to Peckinpah, Malick, and Penn himself, who looked at it again and saw Bonnie and Clyde."
[movie review] |
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CinePassion |
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(2005) |
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"Reasonably rousing, breezily hokey, and touchingly retrograde"
[movie review] |
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CinePassion |
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(1950) |
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"The tension is between heightened whimsy and its vérité settings, or, more specifically, between Jean Cocteau's writing (an adaptation of his 1929 novel) and Jean-Pierre Melville's direction."
[movie review] |
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CinePassion |
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(2006) |
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"Eastwood's cinema is one of resolutely moral images"
[movie review] |
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CinePassion |
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(2005) |
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"Completely unshocking"
[movie review] |
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CinePassion |
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(1972) |
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"Milius' screenplay is acridly flavorful, Huston gives it a mellow reading"
[movie review] |
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CinePassion |
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(1991) |
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"Chen's symbols at times clash as expressively as Paradjanov's"
[movie review] |
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CinePassion |
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1/4 |
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(2009) |
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"Lifelines pitches its tone of suburban purgatory early, with nerve-wrecked matriarch Nancy staring at the camera while sing-songy yearning for a rope to hang herself with."
[movie review] |
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Slant Magazine |
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"Salles and Thomas tritely conflate evangelism, soccer and crime as hollow alternatives for the characters, who end up reduced to static sacrificial lambs just so the filmmakers can state, restate and underline their suffering-poor points."
[movie review] |
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Slant Magazine |
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(2007) |
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"Pitched with utter sincerity and rigorously filmed sans complexity, energy, life"
[movie review] |
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CinePassion |
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(2006) |
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"Its antiseptic textures merely whimper 'Oscar clip'"
[movie review] |
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CinePassion |
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(2006) |
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"Sundance-calibrated sitcom"
[movie review] |
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CinePassion |
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3.5/4 |
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(2009) |
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"To Lisandro Alonso's wandering characters, every place they go seems like the edge of the world."
[movie review] |
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Slant Magazine |
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2/4 |
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(2006) |
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"Catnip to audiences who never heard of The Lost Honor of Katharina Blum."
[movie review] |
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Slant Magazine |
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4/4 |
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(1955) |
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"A bodice-ripper invested with the profundity of a Stendhal novel, Lola Montes is also, even more than La Ronde, Ophüls's definite commentary on movie-watching."
[movie review] |
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Slant Magazine |
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(1962) |
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"David Miller builds sturdily on Philip Lathrop's widescreen cinematography, but Douglas and Dalton Trumbo's screenplay are the auteurs here"
[movie review] |
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CinePassion |
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(2006) |
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"An unintentional parody of Sundance Hades circa 1996"
[movie review] |
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CinePassion |
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(2006) |
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"If there were any justice, the garlands now given to Woody Allen for Match Point would be handed over to Brooks"
[movie review] |
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CinePassion |
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(2007) |
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"A professional script professionally shot, rather than a personal story burning to be told"
[movie review] |
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CinePassion |
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