Seeing The New Land a year after The Emigrants is like picking up a novel you had put down the day before. The story comes flooding back, and what you saw in the first half—the firm, deep-toned preparation—“pays off” in the second half.
Day for Night has the Truffaut proportion and grace, and it can please those who have grown up with Truffaut’s films — especially those for whom Jean-Pierre Leaud as Antoine Doinel has become part of their own autobiographies, with Antoine’s compromises and modest successes paralleling their own.
Claustrophobia, terror and watery graves—long before ‘Poseidon’, Wolfgang Petersen delivered this tale of hell in the Atlantic
Nicole Kidman is dawdling before the mirror, naked except for her eyeglasses and an earring that’s giving her trouble. She fusses with it, but languorously, as might be expected amid her gilded surroundings. They suggest the kind of hotel where each room is a scaled-down version of the queen’s bedchamber at Versailles. The lamps bathe Ms. Kidman in flattery…
Barry Lyndon mette in scena una società violenta, ferocemente classista, dove l’avventuriero gode di una libertà effimera e viene presto emarginato e distrutto. Arricchito dalla più bella fotografia che si sia vista al cinema, il film comunica con stoicismo un sentimento amaro dell’esistenza e della storia.
Stanley Kubrick ha equamente ripartito il film tra un’immagine agghiacciante del futuro e il grigiore dell’establishment antiquato e cadente. Per ripeterci che l’uomo non può migliorare, il regista ha fatto riecheggiare il romanzo di Burgess in una cassa armonica dagli effetti stereofonici.
The Godfather bore witness to the bitter truth: evil, hydra-headed, renews itself and triumphs in the end; in America, the Corleones win.
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Bicycle Thieves remains among the most beloved films ever made, a heart-rending, poetic and compassionate rumination on the human condition that, as has often been said, invests the mundane tribulations of ordinary people with the power and pathos of Greek tragedy.
Examined by any standards, those of 1936 or today, Mr. Deeds had or has to be regarded as pure wishful fantasy. Longfellow Deeds, the lanky hero whom Mr. Cooper so aptly played, was an amiable small-town bumpkin who candidly combined all the platitudinous pieties and virtues of an idealized Boy Scout.
Keira Knightley e Alexander Skarsgard ci danno dentro in inconsistente film ambientato nella seconda guerra mondiale
Alan Morrison argues that there’s more to Nicolas Roeg’s British classic “Don’t Look Now” than the best sex scene in the history of cinema
Brazil is a tragicomedy about the relationship between imagination and fantasy, and about the ability of a society (“somewhere in the 20th century,” as the opening sequence informs us) to constantly transform the energy of the former into the dead weight of the latter.
Before Dirty Harry and The French Connection, movie cops amounted to little more than sheriffs in civvies, white hat versus black hat with a gumball motor instead of a horse. Growing public unease with the US judicial system soon put paid to that.
The movies that split people down the middle, put in the Empire dock… Roberto Benigni’s “Life Is Beautiful”
Fairy tales can come true. Spielberg the historian is in remission; Steven the regressive has returned, with a vengeance. An occasionally spectacular, fascinatingly schizoid, frequently ridiculous, and never less than heartfelt mishmash of Pinocchio and Oedipus, Stanley Kubrick and Creation of the Humanoids, Spielberg’s A.I. Artificial Intelligence is less a movie than a seething psychological bonanza.
Tim Kreider, who also wrote an incisive article on Eyes Wide Shut (“Introducing Sociology”), here takes a brilliant stab at AI in a – rarely mentioned – piece that was originally published in 2002 in Film Quarterly
by Dwight Macdonald This film establishes Joseph Losey as a versatile director who commands a wide range of styles for wrecking a movie. In The
I soli fotogrammi relativamente suggestivi di Suspiria (1977) sono quelli iniziali. Spaventata e indifesa, Susy (Jessica Harper) arriva da New York all’aeroporto di Friburgo, e il gioco di campo e controcampo, il ritmo binario della suspense si mantiene ancora nell’ambito del cinema “classico”
With his film Eraserhead, David Lynch has created what can only be called a surrealistic masterpiece. Uncompromising in style, this black-and-white film is not merely nightmarish: it is a nightmare captured on celluloid.
What does Apocalypse Now mean—the film as we have it, considering the minimal difference between the 35mm version with the title sequence and the 70mm version without, but ignoring all the prerelease stories and versions, preliminary scripts, and encrusted commentary?