Tuesday, April 2 2013
A half century later Godard's Contempt still captivates audiences. Contempt is not as simplistic as it may appear; it is not a mere telling of rejection but of absolute dissolution, of modernized romance and the failings of modernity.
Sunday, January 22 2012
2011 was a year of good, not necessarily great, films, though the amazing choices by our staff might argue against such a overall cinematic classification.
Thursday, May 12 2011
By ignoring or outright dismissing Jean-Luc Godard's post-New Wave work, we’re denying the cinema the opportunity for advancement that he alone can provide.
Thursday, December 6 2012
Criterion's splendid edition of Weekend gives insight into the mind of visionary director Jean-Luc Godard, who aimed at nothing less than challenging the dominant social and cinematic paradigms of his time.
Wednesday, April 16 2014
Even now, after countless reviews and essays, it's easy to be captivated by the way Godard obfuscates our expectations for cinematic art.
Monday, February 3 2014
Both Hail Mary and For Ever Mozart present us with Godard at the peak of his powers as a provocateur and a master of the medium.
Wednesday, June 26 2013
While Band of Outsiders is less frequently canonized than certain of Godard's other works, it can still rightfully be read as a touchstone in the development of film form and cinema history.
Tuesday, September 28 2010
What could seem like a lugubrious mix of themes best reserved for a dour class on existentialism is, in Godard’s masterful hands, a jazzed up mix of bratty and obnoxiously funny stylishness, a long leap into the dark with a few mid-air dance steps along the way.
Sunday, April 18 2010
This film seeks redemption among the ruins, yet every moment of existential transcendence comes crashing back into a flat screen, an immobile camera, and, ultimately, a lifeless body.
Thursday, September 4 2014
Room 237 is one of the only films that respects and even admires cinephilia and its various forms.
Wednesday, June 15 2011
In this final installment in ReFramed's dissection of Godard, Cronk and Marsh consider age, attitude, and the angst of misplaced elitism.
Wednesday, May 18 2011
In this introductory entry in a continuing reevaluation of cinema's standard bearers, film fans Jordan Cronk and Calum Marsh dissect mid-period Godard, giving the French experimentalist and agent provocateur a long deserved defense of his post-'60s output.
Monday, August 30 2010
Godard’s inaugural masterpiece, in spite of its canonical status, is still as vibrant on the screen today as it was fifty years ago