Lang’s gorgeous, action-packed films pour new thematic wine into charmingly old-fashioned narrative bottles.
Kino’s superlative presentation enables us to see the film’s modernist approach to genre as a transitional impulse in Lang’s early career.
Those students or cinephiles looking to trace the contemporary blockbuster’s roots should add Lang’s Woman in the Moon to their list.
Perhaps the weakest points of the biography are McGilligan’s basic treatment of the films proper.
The urgency of Fritz Lang’s genre-establishing masterpiece hasn’t aged a day.
Die Nibelungen ranks among the greatest and strangest of all silents.
This near-complete restoration of Lang’s silent masterpiece is nothing if not the non-Criterion Blu-ray release of the year.
Criterion has now released the quintessential edition of Lang’s inscrutable masterpiece.
Lang’s film is a monumental achievement about monumental egos.
The film is of interest mainly for its peculiar combination of immaculate form and clumsy content.
Warmly tinted and liltingly scored, this is a particularly fetching transfer, particularly considering the film’s rather obscure status.
All appearances and hypnotic suggestions to the contrary, identity is Dr. Mabuse’s wager of choice.
“Tsi-Nan-Fu!” Go forth and do the bidding I have coded in this review.
Fritz Lang’s methos in a nutshell: Pose a question, then answer it, though never in any sort of predictable rhythm.
3…2…1…blast off with the Woman in the Moon.
Woman in the Moon is the great Fritz Lang’s somewhat labored final silent.
Dreyer turns a bisexual love triangle into the archetype of sexual piety and martyrdom. How Scandinavian of him.
Michael resonates strongly as not only one of Carl Theodor Dreyer’s greatest triumphs.