Buñuel attacks the Church as the perverter and frustrater of man—the power trying to hold down sexuality, animality, irrationality, man’s “instinctual nature.’’
Dr. Strangelove developed in us an embryonic skepticism for what was beginning to be called the "military establishment," and it fostered a growing skepticism about authority everywhere.
The movie—Costner’s debut as a director—is childishly naïve. When Lieutenant Dunbar is alone with his pet wolf, he’s like Robinson Crusoe on Mars. When he tries to get to know the Sioux, and he and they are feeling each other out, it’s like a sci-fi film that has the hero trying to communicate with an alien race.
This excruciatingly violent, three-hour Viet Nam saga demolishes the moral and ideological cliches of an era: it shoves the audience into hell and leaves it stranded without a map.
The Deer Hunter has done what The Green Berets could not do more than a decade ago: it has moved audiences to actively root for the American military fighting the Vietnam war.
For all its pretensions to something newer and better, this film is only an extension of the old Hollywood war-movie lie. The enemy is still bestial and stupid, and no match for our purity and heroism; only we no longer wipe up the floor with him—rather, we litter it with his guts.
by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island for the Memorial Day weekend. The Conversation had won the Grand Prize at Cannes, The Sugarland Express had been singled out for its screenplay, and Jack Nicholson had been named [...]
I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.
The key of the brilliant comic tone of the film is in the title. What makes the picture so funny, terrifying and horribly believable is that everyone in the film really has learned to stop worrying, as smokers do about lung cancer after living with the statistics for a bit.
Last Tango in Paris is an important film because of the way it deals with film history. By showing the inadequacy of and parodying two recent influential film styles, 1950s Hollywood and French New Wave, Bertolucci critiques and condemns the outmoded ideas and attitudes which informed these styles.
In this review of Last Tango in Paris, Norman Mailer offers an extensive critique of Bertolucci’s film on the basis of Marlon Brando’s compromised acting.
Some people want to call this art in the postmodern age, but no matter how inflated with esteem Lynch becomes, his art isn’t so great that it transcends political reading or vicious, regressive, conservative meaning.
Imagine The Wizard of Oz with an oversexed witch, gun-toting Munchkins. and love ballads from Elvis Presley, and you’ll get some idea of this erotic hellzapoppin from writer-director David Lynch.
The movie is a disgrace: an ugly, incoherent, dishonest piece of work. The original picture, directed by a skillful journeyman, J. Lee Thompson, is memorable without being especially artful.
Tullio Kezich recensisce "Per un pugno di dollari", primo capitolo della "trilogia del dollaro" di Sergio Leone. Articolo pubblicato sulla rivista 'Bianco e Nero'
Much of the humor in David Lynch’s reworked fifties crime thriller/horror/gothic film Blue Velvet comes from mundane statements which, when filtered by his personal vision, appear weird, but still oddly familiar.
When you come out of the theatre after seeing David Lynch’s Blue Velvet, you certainly know that you've seen something. You wouldn’t mistake frames from Blue Velvet for frames from any other movie. It’s an anomaly—the work of a genius naif.
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 [...]
by Pauline Kael There is a brief passage in Ingmar Bergman's Persona - Bibi Andersson tells about a day and night of sex - that is so much more erotic than all of Ulysses that it demonstrates what can be done on the screen with told material. We do not [...]
EPIC FILMS ANCIENT AND MODERN A week of epics. It is true that neither Spartacus (Gaumont) nor The Guns of Navarone (Regal) conform to Bible thumping traditions but as both last for over three hours, including intermissions for the audience to recuperate on orange squash, and are littered with stars, [...]