Aliens is a very big “Boo!” movie. Long and visually repetitious, this sci-fi action-horror film is scaled to be an epic, and it’s certainly getting epic reviews.
Parents seem desperate for harmless family entertainment. Probably they don’t mind this movie’s being vapid, because the whole family can share it, and no one is offended.
No doubt we can all do with less threat and less stress in the environment, and yet there’s something depressing about seeing yesterday’s outlaw idols of the teen-agers become a quartet of Pollyannas for the wholesome family trade.
As this series of Antoine Doinel films has gone on, Truffaut has had less and less to say about his once semi-autobiographical hero, and Jean-Pierre Léaud, who has played Antoine since The 400 Blows, has grown away from the role.
Promise at Dawn starts from a clever commercial premise: to use Romain Gary’s autobiographical memoir for an anti-Freudian movie — a hero celebrating the memory of his wild, wonderful Jewish mother.
Jodorowsky has come up with something new: exploitation filmmaking joined to sentimentality — the sentimentality of the counter-culture.
MOVIE REVIEWS Towards Infinity and Beyond: Lord & Miller’s Multiverse Takes No Prisoners. An immersive and alienating experience that lays the foundation for new animation
Recensioni italiane di “Killers of the Flower Moon”, il film del 2023 diretto da Martin Scorsese. La pellicola è l’adattamento cinematografico del romanzo “Gli assassini della terra rossa” scritto da David Grann, a sua volta tratto da fatti realmente accaduti.
Anyone who believes himself to have been a revolutionary or a deeply committed radical during his student-demonstration days in the late sixties is likely to find The Big Chill despicable.
Trading Places is reminiscent of the kind of “classic” that turns up on TV at Christmastime, and it looks like a Christmas classic on a TV set that needs adjusting.
A nearly perfect work. The film is bathed in beauty, removed from the banalities of short skirts and modern-day streets and shops, and removed in time, it draws us closer.
A lean, impressive piece of work. Nicholas Kazan’s script, which is based on Patty Hearst’s own account, Every Secret Thing, comes across as bilge-free.
What I saw was a rat’s nest of a movie—all flashbacks and rain. Eastwood has been conscientious: he hasn’t commercialized the material.
Back to the Future Part II is all manic and wacky. It’s all twists.
Paris. Violin-maker Stéphane and his friend Maxime have been business partners for many years, but both now take their friendship as given and probe little into each other’s lives. One day, Maxime tells Stéphane he is in love with Camille, a promising young violinist…
Blood Simple has no sense of what we normally think of as “reality,” and it has no connections with “experience.” It’s not a great exercise in style, either.
The Coen brothers’ No Country for Old Men casts an ominous and mournful spell from the first shot. Over scenes of a desolate West Texas landscape, an aging sheriff (Tommy Lee Jones) ruminates on the new viciousness of crime.
I think Monsieur Verdoux is one of the best movies ever made, easily the most exciting and most beautiful since Modern Times. I will add that I think most of the press on the picture, and on Chaplin, is beyond disgrace.
Milos Forman trudges through the movie as if every step were a major contribution to art, and he keeps the audience hooked the same way people were hooked by Hollywood’s big, obvious, biographical epics.
Krzysztof Kieslowski’s Decalogue is a series of ten films, each one slightly less than an hour long, made for Polish TV in 1988-1989
Barry Lyndon is utterly the opposite of the loose, improvised movies which are so popular with many critics these days. Every detail of it is calculated; the film is as formal as a minuet.
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