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3.5/4 |
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(1947) |
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"Fairly recently, Otto Preminger's Daisy Kenyon has been starting to get some of the acclaim and attention it deserves."
[movie review] |
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Slant Magazine |
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(1977) |
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"Iffy but interesting early Pacino that rewards another look."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(1977) |
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"Pacino is at his best: precise, internal, magnetically cute, and expert at capturing the fear in this man's turtle-like existence and his longing for change."
[movie review] |
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Slant Magazine |
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"An essential set of big-ticket Joan Crawford films."
[dvd review] |
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Slant Magazine |
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(1981) |
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"Not only the finest work by Albert Finney and Diane Keaton and a major, unwieldy film about breaking up, Shoot the Moon is also Tina Yothers's finest hour."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1981) |
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"Parker and Goldman seem to want this battling couple to represent a sort of romantic '60s point of view, and they show up the younger lovers as shallow, '70s-style hedonists."
[movie review] |
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Slant Magazine |
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(1955) |
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"A prime object of study for Susan Hayward scholars."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(1955) |
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"In the '40s, Hayward had a distinctive and rather bitchy sex appeal and clear hunger for stardom that gave way in the '50s to a weary but still authoritative command of frank self-pity and tough-broad defiance."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(2007) |
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"We Own the Night confirms James Gray's position as a major American film director."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(1945) |
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"A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl's best-known film."
[movie review] |
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Slant Magazine |
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(1948) |
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"A fine disc of a strange film."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1948) |
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"The Pirate takes place in some Caribbean of the mind, with lots of shadows and lace and high mantillas, and it's all about the promise of sex; the film keeps tapping into a nervous, adolescent sort of fear and desire."
[movie review] |
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Slant Magazine |
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(1950) |
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"A solid disc that does justice to this Cocteau/Melville puzzler."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1950) |
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"Les Enfants Terribles is very much a fantasy, an accumulation of suggestive, slightly obscure visual details, offset somewhat by Cocteau's too-literary, over-explicit narration."
[movie review] |
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Slant Magazine |
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(1986) |
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"It's worth watching once for Fonda and Bridges."
[dvd review] |
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Slant Magazine |
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2/4 |
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(1986) |
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"Sidney Lumet directs wearily; as a thriller, it's full of holes."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(2007) |
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"Edith Piaf's tidal emotional vulgarity and brutish commitment to the most sentimental chansons is captured accurately and even irresistibly in La Vie En Rose."
[movie review] |
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Slant Magazine |
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(1958) |
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"An unexpected and very valuable DVD."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(1958) |
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"China Doll is a delicate, spare, old man's movie, with quiet attention to character detail."
[movie review] |
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Slant Magazine |
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(1948) |
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"A handsome film, and a real keeper for fans of Vivien Leigh's unstable beauty."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1948) |
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"This version of Tolstoy's Anna Karenina, made A.G. (After Garbo), was not a success when it was first released, and it's still a failure now, but it's an often exquisitely sumptuous misfire, all the same."
[movie review] |
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Slant Magazine |
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(1975) |
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"Kicky but muddled, it's still a valuable reminder of Ross and Williams in their too-brief moment in the sun. Why doesn't someone re-team them now?"
[dvd review] |
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Slant Magazine |
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2/4 |
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(1975) |
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"Even a charming last-minute happy ending can't quite redeem all the mess and unidentified dread."
[movie review] |
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Slant Magazine |
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1.5/4 |
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(2007) |
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"One more dip into the tin-eared neo-noir well."
[movie review] |
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Slant Magazine |
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"A respectable second set, though Never Give a Sucker An Even Break is the only one you really need to own."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(2006) |
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"A cleverly written but somewhat muffled paean to sensual appetite."
[movie review] |
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Slant Magazine |
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(1919) |
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"A delight for Lubitsch fans, and for anyone who thinks films from the late '10s and early '20s are mainly static "turn the camera on" chores."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1919) |
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"Manic, appealing comedies that presage Lubitsch's sophisticated Hollywood period."
[movie review] |
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Slant Magazine |
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"An interesting set for Grant completists."
[dvd review] |
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Slant Magazine |
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2.5/4 |
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(2006) |
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"In what seems like a sequel to Birth, we are treated to endless silent close-ups of Kidman's hard, porcelain face struggling to signal girlish repression and longing for release."
[movie review] |
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Slant Magazine |
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(1981) |
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"An acceptable disc for one of Disney's best and most unheralded animated features."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1981) |
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"A wounded and unresolved movie free of the expected Disney cutesiness and complacency."
[movie review] |
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Slant Magazine |
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(1981) |
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"A handsome, unsatisfying DVD of a handsome, unsatisfying epic."
[dvd review] |
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Slant Magazine |
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3.5/4 |
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(2006) |
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"Infamous is a film about flashy facades and what lies beneath them."
[movie review] |
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Slant Magazine |
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3/4 |
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(1981) |
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"Reds is finally just an appealingly conventional epic movie-star romance with radical trimmings, but it contains several sharper elements that suggest the colorful period it seeks to recreate."
[movie review] |
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Slant Magazine |
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(1948) |
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"This Capra film is typical in its muddleheadedness and atypical in its poor execution."
[dvd review] |
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Slant Magazine |
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1.5/4 |
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(1948) |
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"The shock of State of the Union, Capra's last movie in a political vein, is its technical sloppiness."
[movie review] |
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Slant Magazine |
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(1944) |
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"A disappointing disc for a shallow but well-loved film."
[dvd review] |
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Slant Magazine |
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3/4 |
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(1944) |
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"An accepted classic and archetypal film noir, Billy Wilder's Double Indemnity is visually drab and flabby around the edges."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1946) |
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"The film is redeemed, finally, through the sheer, crazy belief in romance that Frank Borzage imbues in the film as it goes on."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1940) |
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"MGM megastars Clark Gable and Joan Crawford headline Strange Cargo, a humid prison break movie that turns into a bald-faced religious allegory."
[movie review] |
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Slant Magazine |
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2/4 |
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(1941) |
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"This material had served as a tear-milking vehicle for Norma Talmadge in the '20s and Norma Shearer in the '30s, and it was a touch threadbare even when they did it."
[movie review] |
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Slant Magazine |
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2.5/4 |
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(1945) |
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"It hardly seems the work of Frank Borzage."
[movie review] |
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Slant Magazine |
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4/4 |
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(1932) |
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"Cooper and Hays bring Borzage's liking for towering, vulnerable men and tiny, tough women to its visual apotheosis (her head barely reaches his armpit when they walk)."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(1936) |
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"Desire is a most unusual and extremely fertile example of artistic cross-pollination between two very different auteurs: Frank Borzage and Ernst Lubitsch."
[movie review] |
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Slant Magazine |
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3/4 |
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(1934) |
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"Maybe it's hindsight, or maybe it's Borzage's talent, but Little Man does manage to suggest what was happening within this embattled, darkening country."
[movie review] |
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Slant Magazine |
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3/4 |
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(1938) |
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"Sullavan won the New York Film Critic's prize for her role here, and it was deserved: if Ernst Lubitsch's The Shop Around the Corner stands as her best movie, then this is certainly her best performance."
[movie review] |
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Slant Magazine |
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4/4 |
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(1927) |
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"Based on a long-running stage success and wildly popular upon its first release, Seventh Heaven is probably Frank Borzage's most famous film, the one where all his principles of mystical romance come together most distinctively."
[movie review] |
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Slant Magazine |
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4/4 |
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(1937) |
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"History Is Made at Night is a patchwork quilt genre bender that stands as one of Frank Borzage's supreme achievements."
[movie review] |
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Slant Magazine |
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3.5/4 |
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(1933) |
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"Harsh-spirited, episodic, and in a rage over the ghastly injustices of economic privation."
[movie review] |
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Slant Magazine |
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