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  • Our Hospitality 1923

    ★★★★★ Added

    Buster Keaton hit his stride as writer/director/star with his second feature, a riotously funny version of the Hatfield/McCoy feud. Not as well known today as The General, this is for my money Keaton’s funniest film and the one with the most impressive physical stunts (the climactic waterfall rescue has never been equalled). Our Hospitality remains the most modern of all silent comedies due in part to Keaton’s hilariously blank facial expressions as actor as well as his beautifully engineered physical gags as director, which he always profitably captures in immaculately composed long shots. One of the best places to start exploring silent movies period.

  • Black Orpheus 1959

    ★★★★ Added

    Prior to the rise of Brazil’s celebrated “Cinema Novo” in the 1960s, the most significant movie produced in Brazil was this contemporary musical adaptation of the Orpheus myth directed by the Frenchman Marcel Camus. Charges of racism and colonialism have occasionally been levied against it (including by some Brazilians who have objected to their culture being portrayed as a non-stop party) but I think that’s an overreaction. For one thing, Camus’ film, which expresses a genuine love and respect for…

  • Gertrud 1964

    ★★★★★ Added

    Carl Dreyer’s final film is an adaptation of Hjalmar Soderberg’s 1906 play of the same title and its deceptively theatrical character is also reminiscent of Ibsen (a protoypical feminist heroine) and Strindberg (the eternal conflict between men and women). But there are few films as truly and wonderfully cinematic as Gertrud, whose unique qualities of stillness, slowness and whiteness are perfectly suited to capturing the title character’s near-religious view of romantic love as an uncompromising ideal. A lot of men…

  • You Ain't Seen Nothin' Yet 2012

    ★★★★½ Added

    The way Resnais uses his characters’ memories as a catalyst for blurring the lines between real life and art, actor and character, and past and present, is ultimately what makes You Ain’t Seen Nothin’ Yet a worthy addition to the director’s formidable canon (alongside such universally acknowledged masterpieces as Last Year at Marienbad, Hiroshima Mon Amour and Muriel, as well as his more undervalued recent films), and reminds us of the old adage about how great artists always recreate the same work over and over again, just in refreshingly different ways.

    Full review at my blog: whitecitycinema.com/2013/03/18/now-playing-you-aint-seen-nothin-yet/

  • A Brighter Summer Day 1991

    ★★★★★ Added

    Edward Yang’s four hour epic about juvenile delinquents in 1950s Taipei marries the ambitious societal portraits of the 19th century Russian novel (one gang leader even references War and Peace, memorably calling its characters “swordsmen”) with the romanticism, iconography and intense identification with outsiders characteristic of a Nicholas Ray picture. In other words, the personal story (involving a troubled fourteen year old kid played by Chang Chen) can be seen as an allegory for the identity crisis of an entire…

  • The Black Cat 1934

    ★★★★½ Watched 31 Oct, 2011

  • The Slumber Party Massacre 1982

    ★★★½ Added

    The Slumber Party Massacre is a fascinating relic of a bygone era, the era of my own vanished youth. Although, like most Roger Corman-produced movies of its time, its initial theatrical release was extremely limited, the film gained new life on home video. At the dawn of the VHS era, when horror movies lived and died by their video box art, the clever VHS-cover artwork for The Slumber Party Massacre made the film a cult hit. Although I was a…

  • The Crowd 1928

    ★★★★★ Added

    King Vidor was the king of Hollywood following the boffo box office of The Big Parade and he admirably used that clout to realize this downbeat story of the dark side of the American dream: John Sims (James Murray) was born on the fourth of July in the year 1900 and dreamed of becoming President of the United States. Instead he ends up an anonymous office drone in a very impersonal New York City, which Vidor relates in a series of stunning (and hugely influential) tableau images. “The crowd laughs with you always but it will cry with you for only a day.”

  • Dr. Mabuse: The Gambler 1922

    ★★★★★ Added

    The first in a cycle of Fritz Lang films about a diabolical criminal mastermind and master of disguise who crashes the stock market and swindles countless innocents out of their money seemingly for no reason other than the sheer fun of it. Indebted to the mystery serials of Louis Feuillade, this four-hour movie (split into two parts of equal length) remains a fast-paced, rip-roaring entertainment from start to finish.

  • The Naked Spur 1953

    ★★★★★ Added

    In the 1950s, multi-genre specialist Anthony Mann crafted his own unique brand of “psychological western,” which is typified by a series of fascinating Jimmy Stewart vehicles. Here, Stewart plays Howard Kemp, a traumatized Civil War veteran-turned-bounty hunter who reluctantly accepts the help of two strangers in tracking down wanted killer Ben Vandergroat (Robert Ryan in his prime). During the lengthy trek back to civilization where Vandergroat will stand trial, the captive shrewdly manipulates his trio of captors, driving wedges of resentment between them . . . This was perhaps the first of several great ’50s films to subtly undermine Stewart’s all American, nice guy persona.

  • Les Vampires 1915

    ★★★★★ Added

    The brilliant, prolific Louis Feuillade directed over 600 movies, many of them multi-part serials, before his death at 52. Les Vampires, which is not about vampires but rather a gang of nocturnal thieves who call themselves “The Vampires,” is one of the highlights of his career. The leader of the gang is a woman named Irma Vep (played by the ferocious, outrageously sexy actress Musidora) who finds herself matching wits with ace newspaper reporter Philippe Guérande and his comical sidekick…

  • The Butcher 1970

    ★★★★½ Added

    My personal favorite Claude Chabrol movie is this masterpiece about the relationship between a butcher and a schoolteacher in rural France. The plot involves a series of murders, which allows the film to function as a “whodunit,” but Chabrol deliberately and brilliantly leaves no doubt as to the killer’s identity, directing the viewer instead to contemplate the movie as a study of the collision between forces of primitivism and civilization.