C’ERA UNA VOLTA IN AMERICA – Recensione di Stefano Consiglio [Filmcritica]

2018-01-15T16:18:04-08:00 January 15th, 2018|Categories: CINEMA|Tags: , , , , , |

«Credevo fosse un’avventura. E invece era la vita... » (J. Conrad) ... Riprendendo questa frase nel corso di un’intervista, Sergio Leo­ne si riferiva al tempo trascorso da quando ebbe l’idea di trarre un film dal libro di Harry Grey A mano armata a quando, finalmente il film è riuscito a farlo

QUEST FOR FIRE (1981) – Review by Pauline Kael

2018-01-12T15:41:04-08:00 January 12th, 2018|Categories: CINEMA|Tags: , , , , |

Eighty thousand years ago, on broad primeval plains, Naoh (Everett McGill), the bravest warrior of the spear-carrying Ulam tribe, and two fellow-warriors, Amoukar (Ron Perlman) and Gaw (Nameer El-Kadi), are sent out on the sacred mission of finding fire and bringing it back to the Ulam.

MEAN STREETS: EVERYDAY INFERNO – Review by Pauline Kael

2018-01-11T16:26:20-08:00 January 11th, 2018|Categories: Uncategorised|Tags: , , , , |

Martin Scorsese’s Mean Streets is a true original of our period, a triumph of personal filmmaking. It has its own hallucinatory look; the charac­ters live in the darkness of bars, with lighting and color just this side of lurid. It has its own unsettling, episodic rhythm and a high-charged emo­tional range that is dizzyingly sensual.

EYES WIDE SHUT: INTRODUCING SOCIOLOGY – by Tim Kreider

2018-01-08T17:16:07-08:00 January 8th, 2018|Categories: Uncategorised|Tags: , , , , |

Critical disappointment with Eyes Wide Shut was almost unanimous, and the complaint was always the same: not sexy. The national reviewers sounded like a bunch of middle-school kids who'd snuck in to see it and slunk out three hours later feeling horny, frustrated, and ripped off.

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

2017-12-31T18:58:44-08:00 December 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.

THE GODFATHER: ALCHEMY – Review by Pauline Kael

2017-12-30T13:54:12-08:00 December 30th, 2017|Categories: Uncategorised|Tags: , , , , |

A wide, startlingly vivid view of a Mafia dynasty, in which organized crime becomes an obscene nightmare image of American free enterprise. The movie is a popular melodrama with its roots in the gangster films of the 30s, but it expresses a new tragic realism, and it's altogether extraordinary.

ONCE UPON A TIME IN THE WEST (1968) – Review by Andrew Sarris [The Village Voice]

2017-12-17T11:25:38-08:00 December 17th, 2017|Categories: Uncategorised|Tags: , , , , |

Once Upon a Time in the West is Sergio Leone’s most American Western, but it is still dominantly and paradoxically European in spirit, at one and the same time Christian and Marxist, despairing and exultant, nihilistic and regenerative.

THE GODFATHER PART II: FATHERS AND SONS – Review by Pauline Kael

2017-12-12T09:42:17-08:00 December 12th, 2017|Categories: CINEMA|Tags: , , , , |

Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.

THE SHINING: A NEW DEFINITION FOR “ULTIMATE HORROR” – by Jim Wynorski [Fangoria]

2017-12-12T12:24:34-08:00 December 9th, 2017|Categories: CINEMA|Tags: , , , |

Both Kubrick and King merit congratulations for making The Shining one of the most overpowering experiences of horror ever committed to celluloid. It manages to treat intangible, elusive subjects—ghosts, demons, spirits and the like—as if they were as real as this morning's headlines.

THIRD DIVE INTO THE OCEAN: ANDREI TARKOVSKY’S ‘THE STALKER’ – Positif review

2017-12-08T11:04:12-08:00 December 8th, 2017|Categories: CINEMA|Tags: , , , , |

The thaw in the Soviet Union made it possible for new filmmakers, although not without difficulty, to assert their personal vision. The most striking of these was indisputably Andrei Tarkovsky, Emmanuel Carrère discusses the grandeur of Stalker.