Returning from a business trip in Hong Kong, Beth Emhoff has a layover in Chicago and meets a former lover for sex. Two days later, in her family home in suburban Minneapolis, she collapses with seizures...
Lolita has everything it needed to be as brilliant and beautiful as the novel, except great direction. Vladimir Nabokov’s screenplay is a model of adaptation—resourceful, economical, light-bodied.
Kubrick’s films should be ‘read’ as opposed to ‘viewed’. Too often, the notion of film as something we view rather than read results in a great loss of riches that film by directors such as Kubrick have to offer.
While Kubrick and writers Calder Willingham and Jim Thompson have changed the focus and toned down some of his narrative’s brutality, Cobb yet remains the ultimate source of the film’s drama and of most of its ideas.
2001: A Space Odyssey (1968) remains Kubrick’s crowning, confounding achievement. Homeric sci-fi film, conceptual artwork, and dopeheads’ intergalactic joyride, 2001 pushed the envelope of film at a time when Mary Poppins and The Sound of Music ruled the box office.
Cinematographer Burnett Guffey, ASC, is a strong advocate of “Keep the lighting simple.” His techniques are most effectively displayed in his photography of “Birdman of Alcatraz”
During the last ten years or so, movie producers have been ravaging Laurel and Hardy features and shorts for scenes that they have then compiled into anthology features, some more lovingly and intelligently put together (Robert Youngson’s The Golden Age of Comedy and The Further Perils of Laurel and Hardy) than others, especially Jay Ward’s The Crazy World of Laurel and Hardy.
It is, I think, a measure not merely of Chaplin’s art, but of his really incredible ego, that one simply cannot find an article that presumes to criticize him—or even to view his life and work with decent objectivity—which does not begin as this one has: apologetically.
This story of men at war under the sea has hardly a newly minted plot device or character trait to its name, yet rarely has familiar material been put together with such verve and dash. A very traditional war movie done with the most rigorous attention to both physical and psychological realism, Das Boot is the submarine movie to end all submarine movies.
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When I discovered that Pretty Poison had opened without advance publicity or screenings, I rushed to see it, because a movie that makes the movie companies so nervous they’re afraid to show it to the critics stands an awfully good chance of being an interesting movie. Mediocrity and stupidity certainly don’t scare them; talent does.