Movie reviews

The Homosexual Subtext of Tarantino’s “Reservoir Dogs” (1992)

Reservoir Dogs is one of many films, past and present, that either flirt with or fully incorporate homosexual innuendo, expand­ing the vast symbolic field that homosexual­ity embraces. Its subtextual strategy mirrors the longstanding suppression and willful concealment of homoerotic desire in our society.

Accattone (1961) – Recensione di Filippo Sacchi

Credo che ormai sarebbe ingenuo venire a raccontare Accattone al lettore. È da un anno che periodicamente l’Italia è costretta ad occuparsene. Il nostro è un Paese buffo. In nessun altro Paese normale un film come questo sarebbe diventato un affare di Stato.

Rain Man (1988) Dustin Hoffman and Tom Cruise

RAIN MAN (1988) – REVIEW BY PAULINE KAEL

Rain Man is Dustin Hoffman humping one note on a piano for two hours and eleven minutes. It’s his dream role. As the autistic savant Raymond Babbitt, he’s impenetrable: he doesn’t make eye contact or touch anyone or carry on a conversation; he doesn’t care what anybody thinks of him.

Once Upon a Time in the West – Review by Wim Wenders

I don’t want to see any more Westerns. This one is the very end, the end of a craft. This one is deadly . . . Leone’s film is completely indifferent towards itself. All it shows the unconcerned viewer is the luxury that enabled it to be made

L’Etranger (Lo straniero, 1967) – Review by Margaret Tarratt

Whilst L’Etranger is unlikely to hold a major position in Visconti’s oeuvre, it is in several ways remarkable. It is perhaps too easy to underestimate Visconti’s superb ability to render an authentic sense of period (a quality virtually unique to him amongst Western film directors).

Shadows of Forgotten Ancestors: Storytelling in the Novel and the Film

In the history of Ukrainian literature and cinema one and the same title marks the tarn to the modem. Tini zabutykh predkiv (Shadows of Forgotten Ancestors), a novel by Mykhailo Kotsiubynsky and a film by Serhii Paradzhanov (Sergei Paradjanov), became milestones in the development of their respective art forms.

The New Land (Nybyggarna, 1972) – Review by Pauline Kael

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 (La Nuit Américaine, 1973) – Review by Pauline Kael

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.

Masterpiece: Das Boot (1981)

Claustrophobia, terror and watery graves—long before ‘Poseidon’, Wolfgang Petersen delivered this tale of hell in the Atlantic

Eyes Wide Shut - Tom Cruise and Nicole Kidman

Eyes Wide Shut (1999): The 90-Second Trailer

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 (Barry Lyndon, 1976) – Recensione di Tullio Kezich

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.