Now that its title has been changed from Bed of Fear (as it was called when I wrote about Stanley Kubrick’s last picture in Sight and Sound) to The Killing, one need really have no reservations at all. This shrewd, engrossing, complete-in-itself melodrama is the kind of film one had begun to think was no longer possible to make in Hollywood.
In Last Tango there is a quite plain idea—it’s very nearly a film with a message: sex as an instrument of power divorced from tenderness or curiosity results in chaos and despair.
Director Benjamin Ross, whose debut feature is The Young Poisoner’s Handbook, celebrates the drama of failure in Stanley Kubrick’s Barry Lyndon
For the first time, Studio Ghibli has collaborated with an outside animator, Michaël Dudok de Wit, and his breathtaking The Red Turtle proves a worthy heir to this Ghibli tradition
Hiromasa Yonebayashi’s When Marnie Was There transposes a classic of English children’s literature to modern-day Japan to tell the tale of an orphan discovering the dark secrets of her past, in what might well be the last in-house feature from the great animation house Studio Ghibli
Despite the absence of the kind of imaginative spectacle or battle sequences that galvanised Spirited Away (2001) and Princess Mononoke (1997), When Marnie Was There is expertly atmospheric. Its action is all contained within its emotional ebb and flow, as fierce as the tides that lap at Marsh House.
Novelist of ‘Nothing Natural’, Jenny Diski, watches a video of the first ‘Cape Fear’ and the Scorsese remake - and compares them
by Don Daniels Stanley Kubrick's films seem to provoke the kind of mindless praise and attack that is called 'controversy' these days. In the case of A Clockwork Orange, the responses have ranged from 'brilliant' to 'boring', with special attention to the film's depictions of violence. If the viewer responds [...]
Sight and Sound review of 'The White Balloon', a 1995 Iranian film directed by Jafar Panahi, with a screenplay by Abbas Kiarostami