American film in the ’70s extracted much of its power from documenting the fallout from the dreams of the ’60s.
Avant-garde to the last shuttering edit, Guy Maddin’s signature aesthetic is also, paradoxically enough, a classical fusion of style and content.
Simply as a sample of Hollywood refreshment, it’s a smashing product.
The road-movie format is as central to Carlos Diegues’s Bye Bye Brazil as it is to Wim Wenders’s Kings of the Road
Alfred Hitchcock and and screenwriter John Michael Hayes validate their thesis with plenty of spectacle to be voyeuristic over.
Bye Bye Brazil, hellooooo indifferent DVD transfer.
Aussie filmmaker Ray Lawrence’s debt to Robert Altman in Lantana is made explicit in his new film.
After the vaporous whimsy of Avenue Montaigne and now the drippy antics of The Valet, Paris really could use more Gaspar Noé leather infernos.
Not as wicked as the first set, but Gentleman Jim by itself makes it a must for fans.
The film is a surreally barbaric visualization of Ôoka Shôhei’s novel.
War is hell, and Ichikawa takes you through it.
Like his obsessed heroes, Werner Herzog continues to hear the call of the jungle.
Evanescence is an integral part of cinema, and no other director captured it as lyrically and yet as savagely as Max Ophüls.
A deluxe anniversary reissue is the best way to revisit an Oscar-winning ’80s dinosaur.
A revolutionary vision of emancipation through sensuality, the film is a song of love both universal and eternal.
Richard Attenborough’s polished, thoroughly safe veneration of the great political and spiritual Indian leader has no room for contradiction.
Genet’s song of love should make be seen by every cineaste, straight and queer alike.
The open road and wide vistas in which city dwellers long to lose (and find) themselves have rarely looked sadder than in Wild Hogs.
King Vidor’s characters become aware of the largeness of the world as they hit their heads on the ceiling of their existences.
The Orwellian intimations are, like the copious shout-outs to Brecht and Beethoven, catnip to audiences who never heard of The Lost Honor of Katharina Blum.