BARRY LYNDON – di Enrico Ghezzi [Il Castoro Cinema]

2018-05-10T09:10:27-07:00 May 10th, 2018|Categories: CINEMA|Tags: , , , |

Barry Lyndon non ha bisogno di chiamarsi Settecento. Se il titolo in Bertolucci indica l’intenzione astratta di definire storicamente quello che – dalla schematica situazione iniziale – si è riproposto come un film dai personaggi classici e «umani»; un film in cui della grandezza e casualità della Storia c’è solo la fluvialità del tempo e l’ampiezza della produzione (la storia economica del film), in Kubrick il nome – come si accennava – deve definire lo sparuto soggetto che è protagonista.

THE PLUCK OF ‘BARRY LYNDON’ – Review by Jonathan Rosenbaum

2018-05-09T09:35:18-07:00 May 9th, 2018|Categories: CINEMA|Tags: , , , , |

So Barry Lyndon is a failure. So what? How many “successes” have you seen lately that are half as interesting or accomplished, that are worth even ten minutes of thought after leaving them? By my own rough count, a smug little piece of engineering like A Clockwork Orange was worth about five. I’m reminded of what Jonas Mekas wrote about Zazie several years ago: “The fact that the film is a failure means nothing. Didn’t God create a failure, too?”


2018-04-30T15:20:10-07:00 April 30th, 2018|Categories: CINEMA|Tags: , , |

French director Alain Resnais’ remarkable film, Providence (1977), based upon a screenplay by British dramatist David Mercer, is a powerful but subtle exploration of the creative process. In its concern with the intertwining of past and present and their meeting ground in memory, Providence confirms that Resnais is the filmmaker whose work most closely corresponds to that of literary modernists such as James Joyce, Virginia Woolf, and Dorothy Richardson.


2018-04-23T17:15:13-07:00 April 23rd, 2018|Categories: CINEMA|Tags: , , , , |

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.


2018-04-22T13:30:42-07:00 April 22nd, 2018|Categories: CINEMA|Tags: , , , , , , , |

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.

MAKING ALIEN: BEHIND THE SCENES [Cinefantastique Special]

2018-03-24T20:12:32-07:00 March 20th, 2018|Categories: CINEMA, INTERVIEWS|Tags: , , , , , |

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)

2001: A SPACE ODYSSEY – Review by John Hofsess

2018-03-08T18:45:20-08:00 March 8th, 2018|Categories: CINEMA|Tags: , , , , |

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.

2001: A SPACE ODYSSEY – Reviews by Louise Sweeney and John Allen [The Christian Science Monitor]

2018-03-08T16:13:04-08:00 March 8th, 2018|Categories: CINEMA|Tags: , , , |

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.

POPEYE (1980) – Review by Pauline Kael

2018-03-07T08:52:35-08:00 March 7th, 2018|Categories: CINEMA|Tags: , , , , |

Sometimes the components of a picture seem miraculously right and you go to it expecting a magical interaction. That's the case with Popeye. But it comes off a little like some of the Jacques Tati comedies, where you can see the intelligence and skill that went into the gags yet you don't hear yourself laughing.

2001: A SPACE ODYSSEY – The Harvard Crimson Review

2018-03-06T08:50:12-08:00 March 6th, 2018|Categories: CINEMA|Tags: , |

After we have seen a stewardess walk up a wall and across the ceiling early in the film, we no longer question similar amazements and accept Kubrick's new world without question. The credibility of the special effects established, we can suspend disbelief, to use a justifiable cliche, and revel in the beauty and imagination of Kubrick/Clarke's space.