by Richard T. Jameson Early in 1967. United Artists undertook a massive publicity campaign to sell the country on a recent acquisition that had broken box-office records in its native Italy and might, just might do the same in the States. After all, its inspiration was American—what more American than [...]
Buñuel attacks the Church as the perverter and frustrater of man—the power trying to hold down sexuality, animality, irrationality, man’s “instinctual nature.’’
In rewriting the Vietnam defeat, Rambo attempts to solve the contradiction posed by its portrayal of the Vietnam vet as powerless victim and suprematist warrior by reviving the powerful American mythos of a “regeneration through violence.”
Dr. Strangelove developed in us an embryonic skepticism for what was beginning to be called the "military establishment," and it fostered a growing skepticism about authority everywhere.
The movie—Costner’s debut as a director—is childishly naïve. When Lieutenant Dunbar is alone with his pet wolf, he’s like Robinson Crusoe on Mars. When he tries to get to know the Sioux, and he and they are feeling each other out, it’s like a sci-fi film that has the hero trying to communicate with an alien race.
The author reviews two film adaptations of science fiction novels, 'Clockwork Orange,' by Anthony Burgess and 'Slaughterhouse-Five,' by Kurt Vonnegut Jr.
This excruciatingly violent, three-hour Viet Nam saga demolishes the moral and ideological cliches of an era: it shoves the audience into hell and leaves it stranded without a map.
The Deer Hunter has done what The Green Berets could not do more than a decade ago: it has moved audiences to actively root for the American military fighting the Vietnam war.
One in three people in the Roman Republic were slaves. Denied freedom and rights, subject to mistreatment and abuse, they were suppressed by fear and force. But when united, armed, and inspired by a courageous leader, they proved as deadly a threat to Rome as any foreign foe.
The forced removal of thousands of proud and prosperous Cherokees from their 35,000 square miles in the Southern uplands to less desirable land beyond the Mississippi stands as one of the blackest episodes in American history.
By turns scathing and candid, Patton Oswalt reflects on the glut of comic material in the Trump era and the dark days following a personal tragedy.
Chris Rock: Kill the Messenger is Chris Rock's fifth HBO comedy special. It was edited together from three performances: one at the HMV Hammersmith Apollo in London, one at the Apollo Theater in New York City, and one at the Carnival City Casino in Johannesburg.
Look who's back with a new movie: The Deer Hunter made Michael Cimino a winner, but his next film was the legendary failure Heaven's Gate. With Desperate Hours, the stakes have never been higher.
“Look, the film is not realistic — it's surrealistic. Even the landscape is surreal. For example, the little steel town we called Clairton is composed of eight different towns in four states. You can't find that town anywhere — it doesn't exist. And time is compressed.
For all its pretensions to something newer and better, this film is only an extension of the old Hollywood war-movie lie. The enemy is still bestial and stupid, and no match for our purity and heroism; only we no longer wipe up the floor with him—rather, we litter it with his guts.
Dopo vent’anni di carriera Woody Allen incontra per la prima volta, a Parigi, i giornalisti dei Cahiers du cinéma, la rivista simbolo del cinema francese Ecco un’intervista che parla di film, di metodo, di indipendenza e di spettatori
In this special with Bill Maher, the political commentator and satirist discusses midterm elections, income inequality, the Republican psyche, a Trump lawsuit, why the Pope is an atheist and why tattoos are stupid.
"The Conversation" was very ambitious, and I hung in not because it was going right, but because I couldn't accept within myself the judgment that I couldn't succeed in doing it. It's a funny thing, but I just couldn't let the project go."
by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island for the Memorial Day weekend. The Conversation had won the Grand Prize at Cannes, The Sugarland Express had been singled out for its screenplay, and Jack Nicholson had been named [...]
I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.
The key of the brilliant comic tone of the film is in the title. What makes the picture so funny, terrifying and horribly believable is that everyone in the film really has learned to stop worrying, as smokers do about lung cancer after living with the statistics for a bit.
What is particularly striking about the film, once we get over the sight of Marlon Brando performing anal sex, is that it is, in disguise, the most political of Bertolucci’s films so far—his most ambitious attempt to integrate Marx and Freud.
Last Tango in Paris is an important film because of the way it deals with film history. By showing the inadequacy of and parodying two recent influential film styles, 1950s Hollywood and French New Wave, Bertolucci critiques and condemns the outmoded ideas and attitudes which informed these styles.
In this review of Last Tango in Paris, Norman Mailer offers an extensive critique of Bertolucci’s film on the basis of Marlon Brando’s compromised acting.
“To me, making a film is like resolving conflicts between light and dark, cold and warmth, blue and orange or other contrasting colors. There should be a sense of energy, or change of movement. A sense that time is going on — light becomes night, which reverts to morning. Life becomes death."
Sarah Silverman is subtle, provocative, and disturbing. Her guileless, deadpan parody of profane ideas is like a naive child faithfully repeating something horrifying that she overheard her parents whisper.