Tiffany Haddish: Black Mitzvah (2019) – Full Transcript
The comedy special for the comedian/actress was released on her 40th birthday and includes discussion of her newly found Jewish roots, her rise to fame and being a woman.
Recent Articles
Martin Eden: A Story of Failure – by Joan London
by Joan London Of all Jack London’s serious works, none has been more widely misapprehended than Martin Eden, which he began to write soon after the Snark reached Honolulu. Most readers, ignoring the tragic ending which Jack deliberately conceived and logically reached for this novel, have regarded it solely as [...]
Martin Eden: The Love of Death – by Robert Hass
Robert Hass, in his introduction to the Bantam edition of "Martin Eden", points out that Jack London simply reflects the culture of his time, a culture that was dominated by imperialism, social Darwinism, and a style of aggressive masculinity.
Dr. Strangelove – Review by Dwight Macdonald
by Dwight Macdonald With this comédie noire Stanley Kubrick clinches his title—one I conceded him years ago—to Best of Show among our younger directors and why stop there? Also Boldest. Of the great nightmare he has made a lafforama that leaves one with a painful grin on the face and [...]
Lolita (1962) – Review by Dwight Macdonald
by Dwight Macdonald Lolita is a good movie which might have been much better. For the title role, Stanley Kubrick discovered a teen-age television actress named Sue Lyon whose moods, accent, facial expressions, and body movements seem to me remarkably authentic—quite different from the cliches we usually get in such [...]
Doctor Zhivago (1965) – Recensione di G. B. Cavallaro [Bianco e Nero]
Il Dottor Zivago è stato tradito da un film senza poesia e guastato dal gusto materialistico delle grandi sensazioni, degli scontri propagandistici senza retroterra spirituale
Uccellacci e Uccellini (1966) – Recensione di G. B. Cavallaro [Bianco e Nero]
Il film di Pier Paolo Pasolini, Uccellacci e uccellini ha un impianto allegorico, o per meglio dire da parabola. Il regista stesso parla di una «operetta poetica nella lingua della prosa» (come intenzione) dalla struttura magica e malinconica di favola. In altri momenti definisce il suo racconto «ideo-comico»
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– Carl Sagan
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