In 1969, two substance-abusing, unemployed actors retreat to the countryside for a holiday that proves disastrous. by Alex Godfrey “Everything looks ill,” describes Bruce Robinson
Although a fragile conceit, The Nightmare Before Christmas is certainly more worthy of your attention than any Disney 2-D cartoon since Basil – The Great Mouse Detective
In the following essay, Dempsey discusses the enigmatic narrative and thematic aspects of Tarkovsky’s films, focusing on The Mirror and The Stalker.
James Cameron’s sense of his own mission seems to be growing as fast as his production budgets. Terminator 2 is less a sequel to The Terminator than a benign revision of the earlier film.
Che posto viene a occupare Le notti di Cabiria nella prospettiva odierna del cinema italiano, e nell’opera di Fellini, in quel capitolo che possiamo chiamare, in termini letterari e per certi aspetti, Da Zola (e Balzac) a Chateaubriand?
At its visionary best, Martin Scorsese’s The Last Temptation of Christ has scenes of feverish intensity that hold one in thrall.
Dreamchild is not a movie for a wide audience; it simply isn’t conceived in the broad, narrative patterns that please most moviegoers. Yet it’s very enjoyable.
Aliens is a very big “Boo!” movie. Long and visually repetitious, this sci-fi action-horror film is scaled to be an epic, and it’s certainly getting epic reviews.
Parents seem desperate for harmless family entertainment. Probably they don’t mind this movie’s being vapid, because the whole family can share it, and no one is offended.
No doubt we can all do with less threat and less stress in the environment, and yet there’s something depressing about seeing yesterday’s outlaw idols of the teen-agers become a quartet of Pollyannas for the wholesome family trade.
As this series of Antoine Doinel films has gone on, Truffaut has had less and less to say about his once semi-autobiographical hero, and Jean-Pierre Léaud, who has played Antoine since The 400 Blows, has grown away from the role.
Promise at Dawn starts from a clever commercial premise: to use Romain Gary’s autobiographical memoir for an anti-Freudian movie — a hero celebrating the memory of his wild, wonderful Jewish mother.
Jodorowsky has come up with something new: exploitation filmmaking joined to sentimentality — the sentimentality of the counter-culture.
Following the sudden death of his mother, a mild-mannered but anxiety-ridden man confronts his darkest fears as he embarks on an epic, Kafkaesque odyssey back home.
Recensioni italiane di “Killers of the Flower Moon”, il film del 2023 diretto da Martin Scorsese. La pellicola è l’adattamento cinematografico del romanzo “Gli assassini della terra rossa” scritto da David Grann, a sua volta tratto da fatti realmente accaduti.
Anyone who believes himself to have been a revolutionary or a deeply committed radical during his student-demonstration days in the late sixties is likely to find The Big Chill despicable.
Trading Places is reminiscent of the kind of “classic” that turns up on TV at Christmastime, and it looks like a Christmas classic on a TV set that needs adjusting.
A nearly perfect work. The film is bathed in beauty, removed from the banalities of short skirts and modern-day streets and shops, and removed in time, it draws us closer.
A lean, impressive piece of work. Nicholas Kazan’s script, which is based on Patty Hearst’s own account, Every Secret Thing, comes across as bilge-free.
What I saw was a rat’s nest of a movie—all flashbacks and rain. Eastwood has been conscientious: he hasn’t commercialized the material.
Back to the Future Part II is all manic and wacky. It’s all twists.