GUILTY PLEASURES: THE FILMS OF PAUL SCHRADER – by Neil Sinyard [Cinema Papers]

2018-01-28T18:56:07-08:00January 28th, 2018|Categories: CINEMA|Tags: , , , , , , , |

Paul Schrader is one of the seminal figures of the contemporary American cinema. His success is attributable to the creative use of his critical faculty and a commercial deployment of his Calvinism. The result is a body of work that is a bracing commentary on classic and modern Hollywood, and whose bleak vision would make film noir look like musical comedy.

THE LIFE OF BRIAN (1979) – Review by Dennis Altman [Cinema Papers]

2018-01-28T16:46:52-08:00January 28th, 2018|Categories: CINEMA|Tags: , , , , , |

Blasphemy is by no means dead in Britain, as the recent condemnation of Gay News, for publishing a poem portraying Christ as homosexual, reveals. But The Life of Brian has nothing about it as shocking to the faithful as this, and is saved indeed from blasphemy by its sheer vulgarity.

ESCAPE FROM ALCATRAZ (1979) Review by Jack Clancy [Cinema Papers]

2018-01-28T13:13:49-08:00January 28th, 2018|Categories: CINEMA|Tags: , , , , |

Escape from Alcatraz opens with the camera panning across San Francisco Bay and the bridge, and then to the grim, gloomy island of Alcatraz. The first sequence, as the credits come up, shows the arrival, through rain and darkness, of a prisoner for the "Rock": it is shot in tight, constricted close- up and mostly in shadow.