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Ligabue (1978) – Recensione di Ernesto G. Laura

Il Ligabue di Salvatore Nocita è un film di spicco nel panorama italiano degli ultimi anni e i suoi meriti vengono fuori anche dalla “editio minor” per il cinema, tant’è che al Festival di Montréal ha vinto sia il massimo riconoscimento sia quello per il migliore attore.

Suspiria (1977) – Recensione di Guido Fink

I soli fotogrammi relativamente suggestivi di Suspiria (1977) sono quelli iniziali. Spaventata e indifesa, Susy (Jessica Harper) arriva da New York all’aeroporto di Friburgo, e il gioco di campo e controcampo, il ritmo binario della suspense si mantiene ancora nell’ambito del cinema “classico”

Eraserhead (1977) – Review by Russ Island

With his film Eraserhead, David Lynch has created what can only be called a surrealistic masterpiece. Uncompromising in style, this black-and-white film is not merely nightmarish: it is a nightmare captured on celluloid.

Apocalypse Now (1979) – Review by William Cadbury

What does Apocalypse Now mean—the film as we have it, considering the minimal difference between the 35mm version with the title sequence and the 70mm version without, but ignoring all the pre­release stories and versions, preliminary scripts, and encrusted commentary?

Manhattan (1979) – Review by Maurice Yacowar

After the somberness of Interiors, Woody Allen has returned to the romantic comedy style of Annie Hall. The result is his most lyrical and emotional film to date. Although it may not be as complex as Annie Hall, Manhattan is a magnificent film, subtle both in expression and in feeling. It proves that Allen’s genius is still growing and capable of fertile surprises.

Chaplin: The Antagonism of the Comic Hero

The following article was published at the time of Chaplin’s death in the periodical La Città Futura by Pietro Ingrao, then the president of the Italian Chamber of Deputies. Although one of the most engaged leaders of the Italian Communist Party, Ingrao has kept up his interest in film, which he had when I knew him as a young student in the Rome of the thirties.

William Friedkin’s ‘Sorcerer’

Sorcerer is a bleak, harsh, and uncompromising film, adjectives that may have reflected the inner state of William Friedkin after the reviewers were done with him.

Alien (1979) – Review by Laura Sanden

For the filmgoer who can distance himself from the occasional gore of the first viewing, or who can sit through it a second time, Alien furnishes more than simply an opportunity to scream in unison with a couple of hundred other people.

Hardcore (1979) – Review by Charles Schwenk [Cinemonkey]

Amongst film aficionados, the more simple-minded or shy smut fans, and the strong and growing coterie of Paul Schrader enthusiasts, Hardcore was awaited with special enthusiasm; yet all seem to have walked away in varying degrees of disappointment.

Root of All Evil? (2006) – Full Transcript

In this two-part Channel 4 series, Professor Richard Dawkins challenges what he describes as ‘a process of non-thinking called faith’. He describes his astonishment that, at the start of the 21st century, religious faith is gaining ground in the face of rational, scientific truth.

The Deer Hunter (1978) – Review by Sid Falko [Cinemonkey]

The Deer Hunter has created such controversy as a political entity that I think it would be valuable to consider it, briefly, purely as an aesthetic object. Certainly art affects us in many ways, but many of these effects are brought to the film by ourselves.

John Carpenter’s Halloween (1978) – Review by Sean Mercer [Cinemonkey]

The essence of Halloween is a burst of violence on the part of an insane, though clever, man who is “unstoppable,” ubiquitous, and virtually inhuman. He is set against a small group of young women who remain ignorant of his existence, are powerless to stop him when he does attack, and seem to merit his fury due to the licentious and vain orientation of their actions and thoughts.

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