The Sorrow and the Pity (1969) – Review by Andrew Sarris
Marcel Ophüls's The Sorrow and the Pity runs about four and a half hours . . . but, in terms of moral, intellectual, and emotional absorption, it is one of the shortest…
Andrew Sarris
Lolita (1962) – Review by Andrew Sarris
Lolita is a film that runs steadily downhill at too slow a pace for a needless two and a half hours.
Come Now, Dr. Strangelove – Review by Andrew Sarris
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…
BUSTER KEATON
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…
The Servant (1963) – Review by Andrew Sarris
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…
A Clockwork Orange | Review by Andrew Sarris
Let me report simply that A Clockwork Orange manifests itself on the screen as a painless, bloodless, and ultimately pointless futuristic fantasy.
Once Upon a Time in the West (1968) – Review by Andrew Sarris [The Village Voice]
Once Upon a Time in the West is Sergio Leone’s most American Western, but it is still dominantly and paradoxically European in spirit, at one and the same time Christian and Marxist,…
Eyes Wide Shut (1999) – Review by Andrew Sarris
I kept my eyes wide open all through Eyes Wide Shut and saw more control-freak unreality than visual genius around the edges of the cluttered compositions.
2001: A SPACE ODYSSEY (1968) – REVIEWS BY ANDREW SARRIS
Andrew Sarris famously panned Stanley Kubrick’s 2001: A Space Odyssey, then reversed himself after seeing it under the influence.
THE CONVERSATION (1974) – Review by Andrew Sarris
by Andrew Sarris I It came over the car radio while I was driving out to wintry, stormy Long Island […]
The Godfather (1972) | Review by Andrew Sarris
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…