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(1952) |
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"A white-knuckled introduction to the concept of action-movie existentialism, The Wages of Fear makes for a pummeling black-and-white Blu-Ray."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1952) |
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"Now seems much less like Salt of the Earth-as-a-potboiler and a lot more like the spiritual godfather to every testosterone-fuelled thrill ride since."
[movie review] |
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Slant Magazine |
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(1967) |
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"John Carpenter owes his trademark slightly-off-frame entrances to Alan Arkin’s terrifying, famous lunge at Audrey Hepburn."
[dvd review] |
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Slant Magazine |
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(1967) |
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"Wait Until Dark, Frederick Knott’s gimmicky stage play about a blind woman terrorized by crooks, was brought to the screen in 1967 and was accompanied by an even more outlandish gimmick."
[movie review] |
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Slant Magazine |
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(1979) |
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"As far as late '70s films about the terrors of NY subways by night go, The Warriors is right up there with Maniac and Dressed to Kill.
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[dvd review] |
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Slant Magazine |
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3.5/4 |
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(1979) |
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"Just what is the fanboys' beef with the new DVD "Director's Cut" of The Warriors, anyway?"
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1969) |
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"Talk about exiting the gate with a running start."
[movie review] |
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Slant Magazine |
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(1967) |
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"It's nice to have this superlatively nasty film on DVD in America, but what the hell is up with that corrected splice?
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[dvd review] |
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Slant Magazine |
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4/4 |
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(1967) |
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"Weekend is a luridly colorful compendium of aesthetic juxtapositions and audio-visual schisms that evoke the frustrated tenor of the era."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1971) |
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"The layers of pastiche that fuel What's the Matter with Helen? multiply like Shelly Winters's titular character's fat white rabbits."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1949) |
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"White Heat’s ultimate message: love’s a *****…even crypto-incestuous love."
[movie review] |
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Slant Magazine |
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(1949) |
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"If you were James Cagney’s mother, would you have rubbed the back of his neck? I didn’t think so."
[dvd review] |
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Slant Magazine |
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(1990) |
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"Of all the director’s films, White Hunter could and should have stimulated one of the most illuminating commentary tracks from the director."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(1990) |
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"Wilson, obsessed with the Alpha male art of Hemingway and Melville, is portrayed as a man driven by society’s outsized notions of XY-dom."
[movie review] |
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Slant Magazine |
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2/4 |
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(2008) |
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"That personal, private creation (i.e. painting, sculpture) is held up as the standard for artistic expression over collaboration (i.e. film directing) smacks of art-as-onanism."
[movie review] |
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Slant Magazine |
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3/4 |
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(1939) |
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"Some movies defy criticism and, because nothing bugs critics more than their superfluousness towards a film's general perception, inspire reactive critical insanity."
[movie review] |
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Slant Magazine |
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(1939) |
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"The new editions of The Wizard of Oz will cut you to the quick. Angela Lansbury's incessant voice-overs will just cut your eardrums."
[dvd review] |
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Slant Magazine |
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(1978) |
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"An acutely confused vehicle for writer-director-star Herb Robins to film one of his most memorable childhood fever-dreams."
[movie review] |
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City Pages, Minneapolis/St. Paul |
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(1956) |
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"Don’t let the sense of “mistaken identity” déjà vu fool you. The Wrong Man is one of Hitchcock’s most affecting tragedies."
[dvd review] |
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Slant Magazine |
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4/4 |
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(1956) |
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"Hitchcock’s shadowy mise-en-scène is given a greater sense of veracity through his use of actual NYC locations."
[movie review] |
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Slant Magazine |
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