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(1970) |
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"Altman chronicles the sardonic wasteland with a camera that's always in the wrong place at the right time"
[movie review] |
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CinePassion |
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(1966) |
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"The DVD release of this bold, long-unavailable tour de force should be an event to Godard-heads everywhere."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1966) |
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"Godard's films are records (documentaries, even) of personal interests, ecstasies, and agonies at a particular time in the artist's life."
[movie review] |
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Slant Magazine |
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(1943) |
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"One of the few non-thrillers in the oeuvre of producer-auteur Val Lewton, this period piece shows even more glaringly how close his celebrated taste and intelligence could skirt to outright stodginess."
[movie review] |
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CinePassion |
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(1976) |
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"Schroeder's comedy is as wry and dapper as Buñuel's"
[movie review] |
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CinePassion |
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(2008) |
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"A mostly ghastly spectacle"
[movie review] |
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CinePassion |
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(1941) |
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"Lang's vision of the "unconscious assassins" unleashed for war"
[movie review] |
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CinePassion |
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(1934) |
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"The film is a canny blend of observation and creation."
[movie review] |
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CinePassion |
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"A plangent anti-Cult of Domesticity symphony"
[movie review] |
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CinePassion |
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3/4 |
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(1917) |
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"If the film is ultimately unsatisfying, it is due not so much to the story or performances as to the claustrophobic sets."
[movie review] |
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Slant Magazine |
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(1917) |
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"A solid pair of Nordic journeys from one of cinema's earliest builders."
[dvd review] |
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Slant Magazine |
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(2007) |
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"Less interested in analyzing São Paulo's place in the shaky Brazilian system than in jacking it up with shorthand, gawk-at-the-foreigners shocks"
[movie review] |
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CinePassion |
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(1975) |
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"A shamefully bare-bones DVD for a shamefully neglected film."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(1975) |
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"Mandingo is excessive, yet its excesses invariably reveal the caustic truths of social critique."
[movie review] |
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Slant Magazine |
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(2007) |
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"The results aren't bruising, just numbing"
[movie review] |
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CinePassion |
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(2006) |
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"Fragilely evanescent"
[movie review] |
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CinePassion |
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4/4 |
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(1964) |
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"Viewed from the safe distance of four decades after its release, Marnie, perhaps even more than The Birds, emerges as the director's definitive late-period masterpiece."
[movie review] |
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Slant Magazine |
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(1964) |
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"This late-period Hitchcock deserves better packaging, but a masterpiece is still a masterpiece."
[dvd review] |
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Slant Magazine |
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(2008) |
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"The roundelay structure and Hitchcockian nods could have easily given way to a sardonic puppet theater, but Sachs and screenwriter Oren Moverman care too much about their characters to turn them into pawns"
[movie review] |
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CinePassion |
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(2008) |
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"Stylistically sophisticated and emotionally visceral"
[movie review] |
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CinePassion |
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(1986) |
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"The "prolonged orgasm" is Almodóvar's format and tenor"
[movie review] |
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CinePassion |
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(2005) |
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"Allen merely regurgitates his shrunken vision in veddy-British padding"
[movie review] |
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CinePassion |
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2.5/4 |
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(1986) |
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"Max Mon Amour's theme is one that the great surrealist would have enjoyed--and pushed further."
[movie review] |
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Slant Magazine |
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(1986) |
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"An intriguing curio that would have played better as a condensed sketch in Buñuel's Phantom of Liberty."
[dvd review] |
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Slant Magazine |
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(1970) |
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"Abstruse, stark, elemental"
[movie review] |
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CinePassion |
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(1986) |
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"Perennial modernist Alain Resnais enters "old man cinema" territory with grace and style."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1986) |
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"s he grew older, Alain Resnais revealed the wistful sentimentalist behind the formalist pathfinder of Hiroshima Mon Amour and Muriel."
[movie review] |
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Slant Magazine |
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(2005) |
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"Titanic fraudulence"
[movie review] |
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CinePassion |
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(2006) |
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"Mann has no peer today when it comes to painting after-hours dread"
[movie review] |
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CinePassion |
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(2007) |
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"Equates serious inquiry with inert filmmaking"
[movie review] |
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CinePassion |
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| |
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(2007) |
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"Torpid, faux-inspirational"
[movie review] |
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CinePassion |
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(2008) |
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"Ultimatelt resembles less the man than the titular white liquid -- warm, nourishing, somewhat sleep-inducing"
[movie review] |
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CinePassion |
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| |
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(2008) |
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"As a theoretical corrective, it's salutary; as a movie, it's a frickin' blooper"
[movie review] |
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CinePassion |
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| |
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(2006) |
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"Had a pop artist handled this, the franchise could have had its On Her Majesty's Secret Service; with machines directing machines, however, it's closer to its Live and Let Die"
[movie review] |
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CinePassion |
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(2008) |
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"Curdles into fanciful obscurantism"
[movie review] |
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CinePassion |
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(1926) |
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"Flaherty catches it all by coming up with the needed stylistics as the occasions arise."
[movie review] |
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CinePassion |
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(1981) |
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"A piercing ego-autopsy disguised as vanilla '80s comedy."
[dvd review] |
|
Slant Magazine |
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| |
3.5/4 |
|
(1981) |
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"Nearly as much as Jerry Lewis, Albert Brooks's comic persona is defined by its unlikability."
[movie review] |
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Slant Magazine |
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2/4 |
|
(2007) |
|
"The Shakespeare in Love song remains the same, only the lyrics have changed."
[movie review] |
|
Slant Magazine |
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(1996) |
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"Cinema can restage the past, but can it absolve it?"
[movie review] |
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CinePassion |
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| |
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(1931) |
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"Coruscating surrealism"
[movie review] |
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CinePassion |
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| |
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(1930) |
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"'A silly story, possible only with music,' yet what despair it masks"
[movie review] |
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CinePassion |
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| |
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(1982) |
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"The metaphor is enriched stunningly by Skolimowski's humorous detailing"
[movie review] |
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CinePassion |
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| |
3/4 |
|
(2009) |
|
"Bong is less interested in shocks than in the synergy between the country's vast fields and the equally mysterious inner landscape of the dazed matriarch making her way across them."
[movie review] |
|
Slant Magazine |
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| |
3/4 |
|
(2008) |
|
"A work that builds on the visions of Suspiria and Inferno while crafting its own distinct dark-fairy-tale landscape."
[movie review] |
|
Slant Magazine |
|
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| |
3/4 |
|
(2008) |
|
"The historical and the personal converge in Moving Midway, Godfrey Cheshire's analytical and emotive portrait of ancestral roots and antebellum mystique."
[movie review] |
|
Slant Magazine |
|
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| |
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(1965) |
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"Lacerating"
[movie review] |
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CinePassion |
|
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| |
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(2005) |
|
"Laceratingly charged, thunderstriken virtually, by Spielberg's deeply felt moral analysis"
[movie review] |
|
CinePassion |
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| |
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(1958) |
|
"Limpid, compact low-budget ingenuity."
[movie review] |
|
Slant Magazine |
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| |
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(2008) |
|
"The too-neat screenplay doesn't allow for nearly as much improvisation as Wong's earlier Hong Kong reveries, but this impressionistic canvas is still profoundly sensuous and floridly vulnerable"
[movie review] |
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CinePassion |
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|
