In its own way, the film is just as stylized a take on the crime genre as something like Warren Beatty’s Dick Tracy.
Unlike most action films, Mission: Impossible’s distinct appeal operates not so much on suspense but on improbability.
It’s some of the seldom-seen UFOs in Brian De Palma’s career that can dramatically alter one’s perception of his work.
The film is an exemplum of Jean Renoir’s skill at linking narratives of complex human beings to progressive sociopolitical readings.
However you slice up postwar Japanese cinema, Shohei Imamura is one of its premiere figures.
The Lickerish Quartet’s schematics embody a playful brand of high modernism.
Like most great westerns, Dead Man holds the American West and its (white) inhabitants up to close scrutiny.
For Bresson fans, this DVD edition of the film is as good as it gets for now at least.
One could say that the film is about nothing more than the clanging of armor or the movements of legs.
The film organizes its space within a nodal web of slightly claustrophobic locations, always shrouded in fog or cigarette smoke.
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