In its own low-down deportment, The Cameraman is really a raucous, more accessible iteration of Man with a Movie Camera.
There’s no doubt that those in Nas’s loyal fan base will keep the first disc in their players.
Every fragment of Welles footage that surfaces is another dent in the tired argument that the man’s only claim to fame was Citizen Kane.
It’s All True is an essential piece in the Orson Welles puzzle.
This kinky “cheating lovers” melodrama is drenched with his penchant for self-reflective wit.
The lush Therese and Isabelle presents a portrait of lesbian romantic bliss that’s refreshingly indifferent to the context of patriarchy.
Probably the most common misconception about Metzger’s films is that they are “innocent.”
With Camille 2000, Radley Metzger began to let his experimental impulses emerge.
Dreyer turns a bisexual love triangle into the archetype of sexual piety and martyrdom. How Scandinavian of him.
The musical backdrop is so predictable that it doesn’t allow Downey a single fold to hide his voice behind.
Michael resonates strongly as not only one of Carl Theodor Dreyer’s greatest triumphs.
So what made them think they could get away with a follow-up?
Maybe it’s still too early yet to be sentimentalizing this bygone political era, Mr. Stone.
We are all destined to spend a lifetime being held hostage by Beyoncé’s gyrations in the name of Jesus.
Even before they became explicitly gay sex-pigs, Ren & Stimpy were still the sickest little monkeys in cartoons.
All the guitars on Palookaville (when they show up) sound like Top Gun Kenny Loggins.
“I’m sorry. I’d love to be of assistance to you, but I’m afraid I speak no English.”
Three on a Couch is a film that flies any number of directions.
Like Hitchcock, Lewis’s freewheeling, exquisitely diverting films were often undercut by sinister elements and personal neuroses.
Perhaps SCTV at its peak, this set is also essential for John Candy’s vinegary impersonation of Divine singing raunchy Christmas carols.