Stanley Kubrick’s film Barry Lyndon, spectacular as it is, flies in the face of an audience’s usual expectations about “costume drama” as a cinematic form of historical fiction.
Paul Verhoeven has returned home to Holland for his latest film, Black Book, the harrowing story of a young Jewish woman who finds herself thrown by circumstance into the resistance against the Nazis, where she is asked to pose as a sexy cabaret singer in order to get close to Holland’s head of the SS
The movie works because it has the Mary Shelley story to lean on: we know that the monster will be created and will get loose. And Brooks makes a leap up as a director because, although the comedy doesn’t build, he carries the story through.
Throughout the three hours and twenty minutes of Part II, there are so many moments of epiphany — mysterious, reverberant images, such as the small Vito singing in his cell — that one scarcely has the emotional resources to deal with the experience of this film.
It is hard to think of a recent American film which has been as classically and persistently misread as The Deer Hunter.
La Grande Illusion is a perceptive study of human needs and the subtle barriers of class among a group of prisoners and their captors during World War I.
The following interview, conducted by Larry French in preparation for his forthcoming book on the films of Roger Corman, centers around that very fruitful period in Price’s career.
Both Kubrick and King merit congratulations for making The Shining one of the most overpowering experiences of horror ever committed to celluloid. It manages to treat intangible, elusive subjects—ghosts, demons, spirits and the like—as if they were as real as this morning’s headlines.
The thaw in the Soviet Union made it possible for new filmmakers, although not without difficulty, to assert their personal vision. The most striking of these was indisputably Andrei Tarkovsky, Emmanuel Carrère discusses the grandeur of Stalker.
by Pauline Kael In Tim Burton’s Edward Scissorhands, the towers and spires of a medieval castle rise high in the air right out of the
A special advance look at The Keep, a new $11 million horror offering, directed by Michael Mann.
Jonathan Cott interviews Federico Fellini for Rolling Stone magazine. The conversation took place in the director’s office in Rome, February 1984
Andrew Sarris famously panned Stanley Kubrick’s 2001: A Space Odyssey, then reversed himself after seeing it under the influence.
The interview is transcribed from taped material obtained during the shooting of Nostalghia. As well, there are excerpts from conversations that were never recorded, and a brief excerpt from their first 1962 conversation, along with a few other statements made by Tarkovsky
The conversation which follows did not take place all at once. Although I had known Federico Fellini since 1956, we had not actually sat down to discuss his filmmaking ideas and his life philosophy until a few years before his death.
Cannes, 1960. El jurado del Festival, influido por Georges Simenon, otorga la Palma de Oro a La Dolce Vita, de Fellini. Es el comienzo de una amistad por correspondencia que llegará a su momento culminante en 1977, cuando escritor y cineasta por fin se encuentran en persona y mantienen la siguiente entrevista después del estreno de Casanova.
Nel febbraio 1966, il regista già autore de La Strada, La Dolce Vita e 8½, dopo aver finito di girare Giulietta degli Spiriti – e dopo un paio di settimane per far “raffreddare il cervello” – incontra due inviati di Playboy, tra la spiaggia di Fregene e Roma, per parlare di cinema. E della sua visione personale su sesso e amore
In this review of Raiders of the Lost Ark, Tom Milne dismisses Spielberg’s classic as dross. In a scathing review he objects to the film’s many flaws, including its ‘simple-mindedness’ and its reliance on ‘limp clichés’.
On Friday July 14 2000, Morgan Freeman was interviewed by Richard Jobson in front of a packed audience in London’s National Film Theatre. The event followed a screening of his latest movie, the taut psychological thriller Under Suspicion, in which he stars with Gene Hackman
by Richard T. Jameson Early in 1967. United Artists undertook a massive publicity campaign to sell the country on a recent acquisition that had broken
Buñuel attacks the Church as the perverter and frustrater of man—the power trying to hold down sexuality, animality, irrationality, man’s “instinctual nature.’’
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