Come Now, Dr. Strangelove – Review by Andrew Sarris

2019-11-17T10:54:01+00:00November 17th, 2019|CINEMA|

The great merit of Dr. Strangelove is its bad taste. It is silly to argue that we have the right to say anything we want but that to exercise this right is the height of irresponsibility. Responsible art is dead art, and a sane (no pun intended) film on the bomb would have been a deadly bore.

BUSTER KEATON

2020-05-09T21:08:44+01:00November 14th, 2019|CINEMA|

Only a day before the Nobel Prize in Literature was awarded to Samuel Beckett, I confided to my class in film history that Buster Keaton's vision of the world was in some ways more profoundly absurdist than Samuel Beckett’s.

The Servant (1963) – Review by Andrew Sarris

2018-08-07T13:59:53+01:00August 7th, 2018|CINEMA|

The Servant is a genuinely shocking experience for audiences with the imagination to understand the dimensions of the shock. In years to come The Servant may be cited as a prophetic work making the decline and fall of our last cherished illusions about ourselves and our alleged civilization.

THE CONVERSATION (1974) – Review by Andrew Sarris

2017-11-23T09:49:45+00:00November 23rd, 2017|CINEMA|

by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island for the Memorial Day weekend. The Conversation had won the Grand Prize at Cannes, The Sugarland Express had been singled out for its screenplay, and Jack Nicholson had been named [...]

THE GODFATHER (1972) – Review by Andrew Sarris

2017-11-22T23:17:42+00:00November 22nd, 2017|CINEMA|

I am convinced that The Godfather could have been a more profound film if Coppola had shown more interest (and perhaps more courage) in those sections of the book which treated crime as an extension of capitalism and as the sine qua non of showbiz.