2018-02-23T13:53:05+00:00February 23rd, 2018|Categories: CINEMA|Tags: , , , |

The popular and critical success of Clint Eastwood’s Unforgiven (1992) has prompted a number of discussions about the status of the Western, Eastwood’s cinematic persona, and the currency of each in a changing cultural landscape. An accepted critical reading of the film that has already emerged suggests that it revises the Western genre.

PALE RIDER (1985) – Review by Pauline Kael

2018-02-18T11:19:33+00:00February 17th, 2018|Categories: CINEMA|Tags: , , , , |

As an actor, Eastwood never lets down his guard. His idea of being a real man is that it’s something you have to pretend to be—as Sergio Leone put it, he’s wearing a suit of armor. This actor has made a career out of his terror of expressiveness. Now here he is playing a stiff, a ghost. It’s perfect casting, but he doesn’t have the daring to let go and have fun with it. Even as a ghost, he’s armored.

ESCAPE FROM ALCATRAZ (1979) Review by Jack Clancy [Cinema Papers]

2018-01-28T13:13:49+00:00January 28th, 2018|Categories: CINEMA|Tags: , , , , |

Escape from Alcatraz opens with the camera panning across San Francisco Bay and the bridge, and then to the grim, gloomy island of Alcatraz. The first sequence, as the credits come up, shows the arrival, through rain and darkness, of a prisoner for the "Rock": it is shot in tight, constricted close- up and mostly in shadow.