GREYHOUND (2020) – SCRIPT

2020-07-10T16:13:14+01:00July 10th, 2020|CINEMA|

Based upon the novel The Good Shepherd by C S Forester, this is the thrilling story of the leader of an Allied convoy crossing the North Atlantic in 1942 as he faces relentless attack by a Nazi submarine wolf pack.

AN INTERVIEW WITH ENNIO MORRICONE (1994)

2020-07-07T23:56:27+01:00July 7th, 2020|CINEMA|

Ennio Morricone occupies a unique place in the history of twentieth-century music. He is without question one of the world's most successful, and brilliant, composers for film, although he continues to write surprising music for the concert hall as well.

STARDUST MEMORIES (1980) – REVIEW BY PAULINE KAEL

2020-07-07T13:33:06+01:00July 7th, 2020|CINEMA|

In 'Stardust Memories' we get more of the same thoughts over and over—it's like watching a loop. The material is fractured and the scenes are very short, but there was not a single one that I was sorry to see end. 'Stardust Memories' doesn't seem like a movie, or even like a filmed essay; it's nothing.

ENNIO MORRICONE AND THE SCORING OF “ONCE UPON A TIME IN THE WEST”

2020-07-06T19:58:24+01:00July 6th, 2020|CINEMA|

On set, Leone relied for atmosphere upon tapes of Ennio Morricone’s main musical themes, which, this time, had all been written, performed and recorded in advance: ‘Everyone acted with the music, followed its rhythm, and suffered with its “aggravating” qualities, which grind the nerves.’

BRAZIL (1985) – REVIEW BY PAULINE KAEL

2020-07-05T20:04:20+01:00July 5th, 2020|CINEMA|

Brazil is the kind of ornery, intellectually fuzzy labor of love that is bound to strike some people as just about “the worst thing I’ve ever seen,” and perhaps it will affect others as a picture they want for their VCRs, so they can look at it over and over.

INTERVIEW WITH PAULINE KAEL (MODERN MATURITY)

2020-07-03T23:27:26+01:00July 3rd, 2020|CINEMA|

Pauline Kael has brought the same fierce passion, independence, and incisiveness to her movie reviews since she took on Charlie Chaplin’s Limelight in 1952. When her first book, I Lost It at the Movies (1965), and her 1968 appointment as a movie critic for The New Yorker brought her national prominence, some people raised eyebrows, others glasses, to her revolutionary style.

THE DEER HUNTER – REVIEW BY DAVID DENBY [NEW YORK MAGAZINE]

2020-07-02T19:05:12+01:00July 2nd, 2020|CINEMA|

After the early acclaim, The Deer Hunter has been subjected in recent months to an extraordinarily coarse and brutal hazing. Everywhere one encounters people convinced that the movie is racist or fascist, while in the press indignant critics compete with one another in manic overstatement.

“I STILL LOVE GOING TO MOVIES”- AN INTERVIEW WITH PAULINE KAEL (1999)

2020-07-01T00:17:51+01:00July 1st, 2020|CINEMA|

Pauline Kael is a singular voice in the history of American film criticism. Cineaste interviewed Kael in the summer of 1999, discussing her critical career and early influences, her philosophy of criticism, great American films of the Seventies, her thoughts about retirement, and her provocative views on some recent American movies.

BLADE RUNNER (1982): A MIX OF BANALITY AND BRILLIANCE

2020-06-28T16:54:16+01:00June 28th, 2020|CINEMA|

Slovenly plotting and characterization, but consistently fascinating detail: exploitative violence and humanistic regrets: shallow formulas and philosophical questioning—this is the mix of banality and brilliance to be found in Blade Runner.