POLICE OSCAR: “THE FRENCH CONNECTION”: AND AN INTERVIEW WITH WILLIAM FRIEDKIN – by Michael Shedlin

2018-01-26T09:18:20+00:00January 26th, 2018|Categories: CINEMA|Tags: , , , |

Since propaganda, whether blatant or subtle, and whether “left” or “right,” works primarily through the emotions and not the intellect, it is not necessarily the explicit or easily recogniz­able elements of a film that produce the strong­est effect on the consciousness of the viewer. Such is the case with a film like The French Connection. The explicit values are evident. The film is exquisitely made.

DAVID LYNCH’S THE ELEPHANT MAN – Review by Bruce Kawin [Film Quarterly]

2017-12-31T18:58:44+00:00December 31st, 2017|Categories: Uncategorised|Tags: , , , , , |

Not since Shakespeare called for “a muse of fire” in Henry V and Olivier provided the light of an arc-rod projector has there been such an interesting opportunity to examine the relations between film and theater as David Lynch’s The Elephant Man.

STANLEY KUBRICK’S THE SHINING – Review by Flo Leibowitz and Lynn Jeffress [Film Quarterly]

2017-09-16T13:13:43+00:00September 16th, 2017|Categories: CINEMA|Tags: , , , |

by Flo Leibowitz and Lynn Jeffress To all appearances, The Shining is simply a hope­lessly clichéd gothic horror film. Can this be ser­ious? A lonely house on a hill haunted by ancestral ghosts that curse successive generations and force them to re-enact the original horror. It is not even redeemed [...]

LE NOTTI DI CABIRIA (1957) – Review by James Kerans [Film Quarterly]

2017-08-23T15:33:29+00:00August 23rd, 2017|Categories: CINEMA|Tags: , , , , |

by James Kerans All the Fellini virtues are here: the fluent camera, the wit, the elegant composition, the theme-and-variations style, the melange of theatrical and religious symbol, the parabolic eloquence, the vocabulary of private motifs. La Strada is more exciting, because it calls for the management of material more coarse, [...]

BLADE RUNNER – Review by Michael Dempsey [Film Quarterly]

2018-02-02T01:47:49+00:00August 14th, 2017|Categories: CINEMA|Tags: , , , , |

by Michael Dempsey In director Ridley Scott’s $30-million noir thriller, Blade Runner, set in Los Angeles 36 years from now, sophisticated new robots known as “replicants” have drastically narrowed the gap between humans and machines. Prize creations of the cadaverous, ironic Dr. Eldon Tyrell and his superconglomerate, they not only [...]