Chewing the Scenery and Chewing on Actors in ‘Man-Eater of Kumaon’
Sabu and a tiger foreshadow Byron Haskin’s special effects and science fiction adventures of humans vs. the elements in Man-Eater of Kumaon.
Sabu and a tiger foreshadow Byron Haskin’s special effects and science fiction adventures of humans vs. the elements in Man-Eater of Kumaon.
There’s no war going on in these subversive Inspector Maigret whodunits from occupied France, but there’s a lot more murder and paranoia than in the era’s newspapers.
The bleakness in Walter Salles and Daniela Thomas’ 1995 crime thriller Foreign Land would mark the film as a paragon in the newly emerging Brazilian cinema.
Kubrick: An Odyssey by scholars Robert P. Kolker and Nathan Abrams is an ambitious, thorough, and important new take on Stanley Kubrick’s life and work.
Most of the comedies in Laurel & Hardy: Year One starred others, so this set shows the evolution of the dual film by film, getting better as they go along.
These 18 short films in Early Shorts of the French New Wave showcase a consistency of personal expression, handheld style, and filming in the street.
Corporate villainy! Creative tyranny! Dangerous foes and tough allies! MCU: The Reign of Marvel Studios blasts the superhero movie universe with the studio’s massive, messy history.
Hays Code era Lady for a Night links black American characters with upstart so-called “white trash” to expose corruption and “zombie” hypocrisy from the so-called “quality class”.
In monocle and leather boots, waving a whip, and fetishizing his character into a camp masterpiece, Erich von Stroheim never winks in Foolish Wives, but you see the glint in his eye.
The three Lars Von Trier films in Criterion’s Europa Trilogy aim to hypnotize viewers with formal visual styles more important than the story, so they fly in the face of most Art House fare.
Film: The Living Record of Our Memory provides an awe-inspiring, expedited survey of film preservation and the urgency of capturing humankind’s visual memories lest we let these precious histories disintegrate.
Michael Haneke’s films partly alienate viewers by demonstrating that his characters feel alienated from their lives, cultures, and themselves, so one form of alienation breeds another.