Movie reviews

Weekend (1967) – Review by Pauline Kael

Only the title of Jean-Luc Godard’s new film is casual and innocent; Weekend is the most powerful mystical movie since The Seventh Seal and Fires on the Plain and passages of Kurosawa. We are hardly aware of the magnitude of the author-director’s conception until after we are caught up in the comedy of horror, which keeps going further and becoming more nearly inescapable, like Journey to the End of the Night.

The Shining (1980) – Review by Richard Schickel

By taking a book by an author who is at the center of the craze for the supernatural, and turning it into a refusal of and subtle comment on that loopy cultural phenomenon, Kubrick has made a movie that will have to be reckoned with on the highest level

La Chinoise: A Minority Movie – Review by Pauline Kael

Jean-Luc Godard’s “La Chinoise” is a satire of new political youth, but a satire from within, based on observation, and a satire that loves its targets more than it loves anything else — that, perhaps, can see beauty and hope only in its targets.

Apocalypse Now - Dennis Hopper

Apocalypse Now (1979) – Review by Stanley Kauffmann

When I read three years ago that Vittorio Storaro had been chosen as the cinematographer for Apocalypse Now, I was shocked. Storaro, the lush Vogue-style photographer of Last Tango in Paris and The Conformist, for a picture that was being billed as the definitive epic about Viet­nam!

Onibaba (Onibaba – Le assassine) – Recensione di Guido Cincotti [Bianco e Nero]

Siamo nel tormentato medioevo giapponese: la guerra civile infuria seminando lutti e miseria. In una capanna nascosta da un fitto canneto, tra la palude e il fiume, una donna anziana e una giovane, suocera e nuora, aspettano che torni il loro uomo. Per sopravvivere, tendono agguati a sperduti «samurai», li uccidono, li depredano, li gettano in un pozzo, vendono le spoglie a un mercante.

Uccellacci e Uccellini (1966) – Recensione di G. B. Cavallaro [Bianco e Nero]

Il film di Pier Paolo Pasolini, Uccellacci e uccellini ha un impianto allegorico, o per meglio dire da parabola. Il regista stesso parla di una «operetta poetica nella lingua della prosa» (come intenzione) dalla struttura magica e malinconica di favola. In altri momenti definisce il suo racconto «ideo-comico»

Eyes Wide Shut (1999) – Review by Stuart Klawans [The Nation]

Eyes Wide Shut is the work of an artist who long ago stopped paying attention to the world around him. If you are someone who cares about film culture, you will want to see it anyway, perhaps more than once. Respect for the rest of Kubrick’s work would demand no less.

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 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.

Renaldo and Clara

Renaldo and Clara (1978) – Review by Pauline Kael

Like Mailer, Dylan is an artist who intended to do something in advance of conventional movies—more poetic, more ‘true’—yet “Renaldo and Clara,” like Mailer’s “Wild 90,” “Beyond the Law” and “Maidstone,” is marked by an absence of artistic intelligence. The picture hasn’t been thought out in terms of movement or a visual plan.

The Deer Hunter (1978) – Review by Stanley Kauffmann

I submit that, if we are going to be moved to thought and action by The Deer Hunter, it ought to be by the implications of its true subject: the limitations for our society of the traditions of male mystique, the hobbling by sentimentality of a community that, after all the horror, still wants the beeriness of “God Bless America” instead of a moral rigor and growth that might help this country.