Tuesday, February 25 2014
Akira Kurosawa’s samurai, Stuart Heisler’s gangster, Sergio Leone’s cowboy, and George Miller’s misfit suffer a similar black eye, but with dramatically different effect.
Monday, February 24 2014
For more recent winners who don't have the benefit of the studio system, Oscar can be like a frenemy to them.
Wednesday, February 19 2014
Greek actor Stathis Papadopoulos was poised to be the next big thing in Greek cinema following his bold and equally sensitive turn in Constantine Giannaris' From the Edge of the City more than 15 years ago. But Papadopoulos' star never ascended the way it should have.
Wednesday, February 12 2014
12 Years a Slave is every bit as intense as one might imagine, though not completely depressing, whereas Django Unchained aestheticizes its extreme violence.
Friday, February 7 2014
The death of Philip Seymour Hoffman hurts more than the typical "gone too soon" tragedy because we are being robbed of an artist performing at the height of his considerable powers.
Blue Jasmine goes some way towards restoring our faith in Woody Allen's talent. Against the odds, and late in the game, Woody has hit a home run. He actually has returned to form, this time.
Tuesday, February 4 2014
Eraserhead is very much of the same ilk as The Metamorphosis, and could be described to be a dark(er) twin of that novella.
Wednesday, January 29 2014
Furious smokers, farm wives, iconic theater roles, women on the edge of a nervous breakdown, and a small truckload of little gold statues. Obviously, we are counting down Jessica Lange's 10 greatest scenes.
Monday, January 27 2014
Freud theorized that to experience the uncanny was to awaken intellectual uncertainty. Kubrick's The Shining understands this to a masterful degree.
Thursday, January 23 2014
Quentin Tarantino himself arguably wouldn’t have been so emboldened to make the Kill Bill films without that fire set forth by the Wu’s debut.
Thursday, January 16 2014
Using Joshua Oppenheimer’s belief in the healing power of performance, mass murderer Anwar Congo creates a masterpiece of guilt and repentance that his director buys hook, line and sinker.
Tuesday, January 14 2014
Sometimes, a bad movie inspires a bit of unnatural love. In other instances, films overlooked by the masses make it into our personal preferences. Whatever the case is here, we have several examples of efforts we feel bad for enjoying, but love nonetheless.
Wednesday, January 8 2014
It was a particularly strong year for women in film. These sensational performances remind us that, when all is said and done, it's character and how an actor or actress creates them that matters as much to a movie as a script, a director, or an idea.
The best male film performances highlight how masculinity, managed within a more considered and complete character overview, can turn even the most rugged rogue into an equally strong if sensitive cinematic center.
Tuesday, January 7 2014
For those who love film (as we do), it's often hard to hate the medium you enjoy so much. In the case of the movies listed here, the ability to loathe was quite easy, actually.
Monday, January 6 2014
After a shaky start, 2013 ended up a stellar cinematic year, covering subjects as varied as young love, '70s (and '80s and '90s) con men, our country's horrific history of slavery, and perhaps most importantly, giant robots battling equally elephantine alien monster.
Monday, December 23 2013
Sometimes, you have to travel a bit off the beaten path to find salvation from the onslaught that is the mainstream moviemaking machine.
Thursday, December 19 2013
As home video spins off into various immediate options -- streaming, simultaneous theatrical and digital release -- there are still many gems to uncover in the increasingly obsolete format.
Friday, December 6 2013
Like a great battle, or a criminal desperately trying to avoid capture, Hollywood breaks out the big guns this month, giving us new efforts from Martin Scorsese, David O. Russell, the Coen Brothers, and Spike Jonze, along with the typical mainstream holiday fare.
Thursday, December 5 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.