Wednesday, December 4 2013
Though Citizen Kane has cemented his place in film history, The Magnificent Ambersons -- especially had its original ending been kept -- would prove Orson Welles one of Hollywood’s greatest masters of tragedy, if not the greatest.
Thursday, October 24 2013
Each film in The Best of Warner Brothers 20 Film Collection: Thrillers asks, in some or form or another, Where does your loyalty lie, with the guys or your girl?
Monday, January 14 2013
Lifted from over a 40-year period, the Francis Ford Coppola: 5-Film Collection showcases the director's flexibility under circumstances dire and ideal. It also confirms his auteurist consistency.
Tuesday, June 19 2012
Jack Kerouac’s greatest achievement is the creation of the most compassionate of 20th century literatures; not just the adolescent fraternalisms or calls for equality, but the glee of rushing down the mountain with the good news, or as the good news, curious about humanity, forgiving, ready to report well and true.
Tuesday, September 20 2011
The films of Buster Keaton and Charlie Chaplin share a fraternal vitality and invention.
Sunday, August 7 2011
A been-there-lived-it-attitude and street-level redemption, all propelled by a songwriter's/storyteller's lyrical and narrative knack.
Tuesday, July 1 2014
It’s nearly impossible to not get roped in by the easy banter of the dialogue, the epic drama, and the luminous images of this quintessential Western.
Thursday, May 1 2014
In Art and the Second World War, Monica Bohm-Duchen honors the unsung infantry of artists.
Wednesday, March 26 2014
Throne of Blood plays with Noh's frightening incongruity, its delicacy of movement expressing mortifyingly indelicate actions, as when Washizu and Asaji deflate like punctured blow-up dolls as they resolve themselves to treason.
Thursday, December 19 2013
Orson Welles In Italy is a key corrective resource for an under-examined portion of Welles' career. If America was resentful of his talent, Italy was downright mean.
Tuesday, December 3 2013
Cassavetes' aesthetic, both in front of and behind the camera, was less Method immersion than mad (as in gleeful) exploration, skirting the emotional edge without tripping into or wallowing in cathartic excess.
Thursday, January 9 2014
Perhaps because it represented his formation as a solo artist, his manifestation of “Lou Reed”, as opposed to “Lou Reed and the Velvet Underground”, Reed owned the '70s more than any other decade.