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  • Los Olvidados

    Los Olvidados 1950

    ★★★★★ Added

    The first masterpiece of Luis Bunuel’s Mexican period is this unforgettable tale of juvenile delinquents living in the slums of Mexico City. The main characters are Jaibo, the leader of a gang, and Pedro, an impressionable boy who wants to do good but becomes enmeshed in gang activity after being repeatedly rejected by his own mother. There are many aspects to this film that are similar to Italian Neorealism, including the documentary-like visuals and incredibly naturalistic child performances, but Bunuel,…

  • Letter from an Unknown Woman

    Letter from an Unknown Woman 1948

    ★★★★★ Added

    Set in Vienna in the early twentieth century, Max Ophuls’ masterpiece tells the incredible story of the title letter-writer (Joan Fontaine) and her three brief but fateful encounters with a ne’er-do-well pianist (Louis Jourdan) over the course of several decades. His inability to recognize her on the latter two occasions elevates the simple plot, which is recounted via flashback, to the level of high tragedy. Fontaine is heart-breaking in the lead role but the real star is German-born, French-bred director…

  • Bigger Than Life

    Bigger Than Life 1956

    ★★★★★ Added

    James Mason is a schoolteacher and family man who begins suffering from a bizarre strain of megalomania after becoming addicted to the prescription “wonder drug” cortisone. Director Nicholas Ray’s unparalleled mastery of ‘Scope framing (check out what he does with the staircase in Mason’s home) and Technicolor (those yellow cabs!), combined with mise-en-scene that reconfigures American post-war prosperity as something nightmarish and oppressive, is perfectly suited to the melodramatic storyline. “God was wrong!”

  • The Lovers on the Bridge

    The Lovers on the Bridge 1991

    ★★★★★ Watched 13 Feb, 2012

  • Barbara

    Barbara 2012

    ★★★★ Added

    Barbara is built on quietness and patience, and is grounded in an impressively real-world sense of what daily life in East Germany must have been like (i.e., an atmosphere of almost-banal mistrust) shortly before the worldwide collapse of Communism.

    Full review at my blog: whitecitycinema.com/2013/04/29/now-playing-stoker-and-barbara/

  • J.S.A. Joint Security Area
  • L’argent

    L’argent 1983

    ★★★★★ Added 1

    Robert Bresson’s swan song, as tight and compressed as a Ramones song, is a masterful update of Tolstoy’s short story The Forged Note. Bresson’s ingenious narrative follows a counterfeit bill, initially passed off in a shop as a schoolboy prank, which sets off a chain of events (an “avalanche of evil” in the director’s own indelible words) that ends with a young man murdering an entire family with an axe. This vital, rigorous movie, made when the director was 82 but seeming like the work of a much younger man, is the ultimate artistic statement about the potentially destructive power of money.

  • Something in the Air

    Something in the Air 2012

    ★★★★★ Added

    “New ideas require new language,” uttered by a wannabe revolutionary filmmaker, is one of the more stimulating lines of dialogue in Olivier Assayas’ latest (and arguably greatest) movie. It’s also a concept that the formidable critic-turned-director has continually wrestled with throughout his career; intriguingly, the harder Assayas has tried to construct a “new language” to comment on the changing world in the past, the worse off his films have been (as in the ridiculous “cyber-thriller” Demonlover or the aimless artiness…

  • Greed

    Greed 1924

    ★★★★★ Added

    Erich von Stroheim’s nine hour adaptation of Frank Norris’ classic American novel McTeague was brutally cut down to its present two hour and twenty minute running time by MGM executives, who also unconscionably destroyed all of the excised footage. Remarkably, the remaining shadow of Stroheim’s original vision (an excoriating indictment of the destructive power of money about a dentist, his wife and best friend who find their lives torn apart by greed) is still a deathless masterpiece. The powerhouse performances and shot-on-location Death Valley climax are unforgettable.

  • Top of the Lake

    Top of the Lake 2013

    ★★★★ Added

    Just as Vertigo and Shutter Island hold up well upon re-watching — even after one knows their “twists” are coming — because they still provide a potent nightmarish immersion into an ocean of feelings (obsession, guilt, fear, etc.), so too does Top of the Lake allow viewers, first and foremost, the cathartic experience of luxuriating in an atmosphere of righteous anger and sorrow.

    Full review on my blog: whitecitycinema.com/2013/04/22/now-playing-top-of-the-lake/

  • The Gospel According to St. Matthew

    The Gospel According to St. Matthew 1964

    ★★★★★ Added

    Pier Paolo Pasolini’s best-loved film is this unorthodox but reverential version of the Christ story in which the life of Jesus (hauntingly portrayed by non-actor Enrique Irazoqui) is told in straightforward, realistic fashion – from his birth in Bethlehem to his revolutionary political teachings to his crucifixion, death and resurrection at Golgotha. Some critics have detected a Marxist slant to Pasolini’s take yet this is a movie virtually anyone, even the Pope, could love. The impressively eclectic soundtrack features Bach, Mahalia Jackson and Blind Willie Johnson.

  • The Blue Angel

    The Blue Angel 1930

    ★★★★½ Added

    The Blue Angel is notable for many reasons, including its status as the first German talkie and the film that launched Marlene Dietrich to international stardom. The story is reminiscent of Variety with Emil Jannings again playing a man who is driven to ruin by a treacherous woman, this time a cabaret singer of loose morals named Lola Lola (Dietrich at her most iconic). This was the only German-made film by Austrian director Josef von Sternberg.