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(1958) |
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"Sirk is a past master of handling the most dubious writing and acting and still somehow making it conform to his overall vision."
[movie review] |
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Slant Magazine |
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(1935) |
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"Was Julien Duvivier an auteur (like his countryman Jean Renoir), a skilled craftsman (like Michael Curtiz) or a pure hack (like, say, Ray Enright)?"
[movie review] |
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Slant Magazine |
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(1966) |
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"The dueling image visual feast is endlessly stimulating, even if you don't take the requisite drugs beforehand."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(2009) |
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"There's almost no conflict in either of the stories presented in Julie & Julia, and though this is preferable to contrived conflict, it still leaves us with a rather overlong, lovey-dovey picture."
[movie review] |
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Slant Magazine |
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(1965) |
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"It's hard to know how to take Roman Polanski's Repulsion (1965) at this point, and not just because of the inescapable echoes and resonances it sets off relating to his own grotesque, tragic life."
[dvd review] |
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Slant Magazine |
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(2009) |
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"Varda turns the camera on herself and her own life, even though she convincingly posits that she's much more interested in other people."
[movie review] |
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The House Next Door |
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2/4 |
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(2009) |
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"Cheri strikes a jarring note right from the start."
[movie review] |
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Slant Magazine |
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(1957) |
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"During the last twenty minutes of Interlude, Sirk goes in for the kill"
[movie review] |
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Slant Magazine |
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3.5/4 |
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(2009) |
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"The buried themes in James Gray's fourth film, Two Lovers, slowly emerge from its accumulation of quotidian, seemingly small details."
[movie review] |
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Slant Magazine |
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(1914) |
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"There's some filler here, but the restored Abraham Lincoln is impressive, and everyone should have a copy of Way Down East."
[dvd review] |
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Slant Magazine |
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(2008) |
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"Revolutionary Road is not a great film, per se; a great film needs the stamp of a great director. But it is a great film of this great book."
[movie review] |
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The House Next Door |
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2.5/4 |
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(2008) |
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"Doubt doesn't work fully on screen as it did on stage, but it's worth seeing for Streep's grace notes."
[movie review] |
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Slant Magazine |
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(2007) |
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"Eric Rohmer has said that The Romance of Astrea and Celadon is probably his swan song, and he's not pulling any punches here."
[movie review] |
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Slant Magazine |
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(2008) |
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"The great jazz singer Anita O'Day operated in some far-out be-bop realm of her own."
[movie review] |
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Slant Magazine |
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(1950) |
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"At its core, The Furies is a passionate stand off between a father and a daughter, played by a rip-snorting Walter Huston (in his last role on screen) and a primal Barbara Stanwyck."
[movie review] |
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Slant Magazine |
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(1959) |
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"We can't really look at Jean-Luc Godard's Breathless with fresh eyes, any more than we can see Citizen Kane or Sunrise for the first time."
[movie review] |
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Slant Magazine |
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(2008) |
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"Balibar's sly mouth tightens with mean glee as she plays all the Duchesses' games, and Depardieu's brooding, battered face ceaselessly signals the General's suppressed, sexualized violence."
[movie review] |
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Slant Magazine |
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(2008) |
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"Téchiné films Johan Libéreau, who plays Manu, the fresh-faced young boy coming of age in The Witnesses, with the sort of discretion that gives mystery and dignity to human beauty."
[movie review] |
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Slant Magazine |
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(2007) |
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"Filming a major Broadway musical has always been trouble for moviemakers; none of them seem to work."
[movie review] |
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Slant Magazine |
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(1953) |
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"Sawdust and Tinsel is Bergman's first film where the idea of humiliation, specifically sexual humiliation, becomes crucial to his conception."
[movie review] |
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Slant Magazine |
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(1953) |
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"This MGM movie is studio-system filmmaking at its most protective, and it's designed entirely to showcase Leslie Caron"
[movie review] |
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Slant Magazine |
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(2006) |
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"It is obviously the film of a master and certainly feels like a swan song."
[movie review] |
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Slant Magazine |
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(1949) |
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"The Window (1949) is the kind of movie probably best experienced as a child of 11 or 12, plagued by insomnia, moved to turn on late night television."
[movie review] |
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Slant Magazine |
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(2005) |
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"Forty Shades of Blue is wonderfully unconventional, truthful and touching."
[movie review] |
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Slant Magazine |
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(1978) |
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"Ingmar says, "No." Ingrid says, "Yes." They're both right and both wrong, but it is Ingrid, in her last feature film performance, whose "Yes" carries more conviction and authority."
[movie review] |
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Slant Magazine |
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(1977) |
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"A seamless story about memory and fantasy blurring together, Cría cuervos is unquestionably Carlos Saura's greatest film."
[movie review] |
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Slant Magazine |
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(2006) |
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"David Lynch's Inland Empire, which runs 172 minutes, keeps collapsing in on itself."
[movie review] |
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Slant Magazine |
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(2007) |
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"Most critics have approached Werner Herzog's latest film Rescue Dawn with qualifying kid gloves, as if it would be impolite to question a late work from such a grand old man of the seventies German New Wave."
[movie review] |
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Slant Magazine |
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(2007) |
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"Sometimes extreme physical beauty grows more complex, more satisfying with age; it's rare, but it happens."
[movie review] |
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Slant Magazine |
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(2006) |
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"For Your Consideration might indeed be a bridge too far for the Guest troupe, but seeing it makes you want to liberate his inventive women for other projects"
[movie review] |
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Slant Magazine |
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(2007) |
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"There are many reasons to see Chris & Don, but the best one I can think of is the chance to see Isherwood and his best friend W.H. Auden, probably the greatest poet of the twentieth century, jumping around together like middle-aged schoolboys in beguiling"
[movie review] |
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Slant Magazine |
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(2008) |
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"A paint-by numbers biopic of the tireless activist that wastes the efforts of some fine actors."
[movie review] |
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The House Next Door |
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2/4 |
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(2008) |
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"An unwieldy stab at an old-fashioned movie epic, Baz Luhrmann's Australia is corny, implausible, well intentioned and even somewhat enjoyable in its own way, at least for a while."
[movie review] |
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Slant Magazine |
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(2007) |
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"In Factory Girl, a jumbled account of the short life and photogenic hard times of the first Andy Warhol superstar, Edie Sedgwick, Sienna Miller makes Sedgwick into an archetypal over-confident blond with a mannered young Kathleen Turner croak."
[movie review] |
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The House Next Door |
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(1950) |
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"A somewhat disappointing package of a truly lovely film."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(1950) |
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"Each vignette conforms to a tight, outgrowing pattern, so that they each have equal weight, even if Danielle Darrieux's first segment is the one that lingers in the mind."
[movie review] |
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Slant Magazine |
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2/4 |
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(2008) |
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"The original version of The Women, shrill and campy as it can be, is miles ahead of this remake when it comes to issues of class and social maneuvering."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(2008) |
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"This new Brideshead takes a step in the right direction, but it's time some radical writer or filmmaker dared to leave out the dim Julia charade and let Charles and Sebastian play out their Isherwood/Auden Oxford love match to its full."
[movie review] |
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Slant Magazine |
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1/4 |
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(2008) |
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"This film version of Mamma Mia! is such a full-scale disaster in every way that it's hard to know what has held theatergoers' attention for so long."
[movie review] |
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Slant Magazine |
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(1972) |
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"Only for Jacques Demy completists, and the stray Donovan devotee."
[dvd review] |
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Slant Magazine |
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2/4 |
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(1972) |
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"Jacques Demy's version of The Pied Piper is as distanced and uncertain as his masterpiece The Young Girls of Rochefort is ecstatically sure of itself."
[movie review] |
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Slant Magazine |
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(1963) |
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"A heartfelt but unsuccessful film that could have been much better with a more variegated point of view."
[dvd review] |
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Slant Magazine |
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2/4 |
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(1963) |
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"To be frank, Fire Within devastated me when I saw it in college, but the unrelieved ennui that struck me as scrupulously honest and brave then looks one-note and aimless to me now."
[movie review] |
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Slant Magazine |
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(1958) |
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"Jeanne Moreau at her "If it feels good, do it" best."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(1958) |
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"This film is nowhere close to Ophuls's landmark, but it did inaugurate Moreau's extraordinary run of '60s art films in high style."
[movie review] |
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Slant Magazine |
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(1965) |
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"Ultimately disappointing, but Davis gives Mary Poppins a run for her money."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(1965) |
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"A rather quiet, cautious thriller that gives Davis more room for characterization than most of her later films."
[movie review] |
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Slant Magazine |
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(1955) |
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"Standard costume fare enlivened by Bette Davis's fuming and growling."
[dvd review] |
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Slant Magazine |
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2/4 |
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(1955) |
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"Henry Koster's direction is competent, for him, but Franz Waxman's music is no substitute for Erick Wolfgang Korngold's classic score for Elizabeth and Essex."
[movie review] |
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Slant Magazine |
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(1947) |
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"A great Preminger movie and a solid DVD overall."
[dvd review] |
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Slant Magazine |
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