Pauline Kael reviews 'New York Stories', the 1989 anthology film consisting of three shorts with the central theme being New York City. Episodes directed by Martin Scorsese, Francis Ford Coppola and Woody Allen.
What saves Munchausen from mediocrity is that you sense that Gilliam is brainstorming. He goes hippety-hoppety all over the place. The picture is too dry and too busy to be considered merely mediocre. And he has his gifts. He retains an edge of Monty Python’s cranky, warped slapstick, and he has a painter’s eye.
In Last Tango there is a quite plain idea—it’s very nearly a film with a message: sex as an instrument of power divorced from tenderness or curiosity results in chaos and despair.
Da Nang è lontana da Montelepre. La storia di Salvatore Giuliano e la guerra del Vietnam non si consumano sotto lo stesso cielo. Ma, forse, le traiettorie della "blindatissima" Full Metal Jacket e la parabola fatale del Siciliano attraversano lo "stesso" cinema.
Possibly there’s no way to make a picture this fast (it was shot in ten weeks) and achieve something comparable in greatness to the elegant comedy of evil that Laclos left us.
The director Alan Parker likes to operate in a wildly melodramatic universe of his own creation. In Mississippi Burning, which is set during the Freedom Summer of 1964, he treats Southerners the way he treated the Turks ten years ago in Midnight Express.
Pedro Almodóvar may be the only first-rank director who sets out to tickle himself and the audience. He doesn’t violate his principles to do it; his principles begin with freedom and pleasure.
In this half-hour standup special Patton Oswalt talks about a visit to the Ann Frank Museum, getting older, reading obituaries, old movies, Easter color eggs and explores the depravity of reality television.
BUTCH CASSIDY AND THE SUNDANCE KID: THE BOTTOM OF THE PIT (also EASY RIDER, MIDNIGHT COWBOY, ALICE’S RESTAURANT) – Review by Pauline Kael
Butch Cassidy will probably be a hit; it has a great title, and it has star appeal for a wide audience.
The Man Who Planted Trees (French title: L'homme qui plantait des arbres) is an allegorical tale by French author Jean Giono, published in 1953. It tells the story of one shepherd's long and successful singlehanded effort to re-forest a desolate valley in the foothills of the Alps in Provence throughout the first half of the 20th century.
In an exclusive interview, Michael Mann analyses the creation of his crime classic 'Heat': "I never thought of it as doing a genre piece.."
Meeting John Huston in Rome, where he was shooting The Bible, turned out to be easier than meeting any other director I had ever interviewed. On the set, among the giraffes and the peacocks, the lions and the Himalayan goats, I asked Huston how he made films.
In this exclusive interview, Stephen King discusses his past work, his inspirations, his attitudes toward the genre, and his future projects.
Roma, città aperta (Open City) is widely regarded as the most important film in Italian cinema history. Hence, a great deal of commentary has arisen concerning it, including a whole mythology of originality and difference.
"The Hollywood Foreign Press have warned me that if I insult any of you, or any of them, or offend any viewers, or cause any controversy whatsoever, they’ll definitely invite me back next year."
Town Hall, New York City, 26 June 2000. An evening with Eddie Izzard in which he moves back and forth in time, with religion as the loose but constant theme. He begins with Pope John Paul II, and then criss-crosses to Pius XII, the Spanish Inquisition, the Crusades and Jerusalem, the world's five major religions, the Dark Ages, Jesus, and the future.
Nel giugno del 1983 Playboy Usa incontra un maestro del brivido che nella sua successiva carriera avrebbe pubblicato oltre sessanta opere, tutte regolarmente entrate nella classifica dei bestseller. King racconta gli inizi molto difficili, il successo inaspettato e quella sottile linea di follia che tiene legata fin dal principio tutta la sua produzione.
Stanley Kubrick has topped a masterpiece with a masterpiece. A Clockwork Orange is not the best Anglo-Saxon language film of 1971, it is the best film of 1971, and there are so many masterful things in it that I hardly know where to begin.
Stanley Kubrick’s 2001: A Space Odyssey is remarkable on a number of counts. Firstly, it is perhaps the first multi-million-dollar supercolossal movie since D. W. Griffith’s Intolerance fifty years ago which can genuinely be regarded as the work of one man.
This view of the Satyricon is proof positive that the golden resources lavished on Fellini by his trusting producers can be reduced to brightly-colored but unenriching fare.
Talking with the creators of Alien (1979). Interviews with Ridley Scott (Director), Walter Hill (Producer), David Giler (Producer), Carlo Rambaldi (Creator of Alien Head Effects), Bolaji Badejo ("The Alien"), Michael Seymour (Production Designer), Ivor Powell (Associate Producer), Roger Dicken (Creator of Small Alien Forms), H.R. Giger (Alien Designer)
BILANCIO IN PARITÀ: 5-5 In Coppa dei Campioni/Champions League, Juve e Real si sono sfidate in 10 occasioni e le due squadre hanno potuto gioire 5 volte per parte. I blancos hanno però vinto le due finali disputate, quella del 1998 e del 2017. In semifinale sempre bene i bianconeri [...]
Adel Karam goes back to his hometown to appear at Beirut's renowned Casino du Liban where his standup pokes fun at everything from relationships to regional social issues with his distinctly local blend of smart, sarcastic humour.
Lee Marvin and Toshiro Mifune are the stars of Hell in the Pacific, and there’s nobody else in the movie — just this American soldier and this Japanese soldier stranded on a Pacific island during the Second World War, and neither speaking a word of the other’s language.
Visually, the movie is without depth or shading, and often the compositions seem cramped; possibly the chalky, off-key look was by choice, but, if so, I'm not sure what dictated it. This is Kurosawa's first period film in color, and he has used color in an eerily unrealistic, painterly way.
2001 no less than Dr. Strangelove is an apocalyptic vision: it i is an alternate future but no less pessimistic. Beneath its austerely beautiful surface an alarm is sounded for us to examine a problem of which Dr. Strangelove was a pronounced symptom: the possibility that man is as much at the mercy of his own artifacts as ever he was of the forces of nature.
Louise Sweeney, New York-based film critic for The Christian Science Monitor, wrote a generally favorable review following the New York premiere of 2001: A Space Odyssey. Boston staff critic John Allen’s full-page review appeared in the Monitor a month later and M-G-M reprinted it as an ad in a Sunday edition of The New York Times.