• Machibuse



    Hiroshi Inagaki last movie is a predictably superior samurai film. Something of an unofficial sequel to Yojimbo and sort of companion piece to same year's Zatoichi Meets Yojimbo (Katsu is even around), this time fully controlled by Mifune. As the Japanese studio system collapsed in the 70s, Mifune started to get more and more roles that treated him more like an emblem of Japanese's cinema great past than character and I'd argue that 1970 is pretty much the division point…

  • The Man Who Left His Will on Film

    The Man Who Left His Will on Film


    Left delusions and film's role in capturing. Some of Oshima's most careful filmmaking. It is also probably the closest he come to Wakamatsu/Adachi.

  • Golden Mouth

    Golden Mouth


    Daniel Filho should stay far away from auteur movies, it just highlight his weaknesses. Besides a couple supporting performances everything that is any good can be traced back to Rodrigues original text or Nelson Pereira dos Santos 60s adaptation. It is clean, the art direction in particular is disaster, the stabs at trying to make Rodrigues text justice just look even more off.

  • Me, Myself & Irene

    Me, Myself & Irene


    Carrey gives one of the best physical performances. So warm and inviting. Hilarious, 95% of it wouldn’t be allowed in a current big budget film, but has more humanity than anything Hollywood could make today. It loves everyone but the bad cops.

  • The Horse of Pride

    The Horse of Pride


    Le Cheval d'Orgueil is the last Chabrol theatrical feature I had never seen, unless people literally invent another which wouldn't surprise me, I mention this because it makes some sense as on surface it feels as removed as possible from people's idea of what a Chabrol film is about. It is not a thriller, it doesn't deal with bourgeoisie, it is based on a memoir and has a warm first-person point of view instead of the more detached one he…

  • The Rain People

    The Rain People


    I remember when Coppola was making the rounds promoting The Rainmaker and he got forced to discuss that yes, doing a John Grisham adaptation was a bit of for hire hack work, but that was okay because if he was going to be honest the only truly for him Hollywood movies he had done were The Conversation and The Rain People. Every time I watch The Rain People, that line comes back to me because this is a deeply felt…

  • Ice



    Every early Robert Kramer movie is a fantasy about people he knew. I think this is the essential aesthetic element about them. They are shot in a flat deglamorized style, call it American left "realism", but they all are set as far as narrative goes in complicated fictions predicted in a fever pitch of alienation and paranoia. Pauline Kael has a surprising sympathetic review of Ice, definitely not her kind of movie, and one suspects what she reacts to it…

  • The Friends

    The Friends


    It finds an impressive balance between its restrained images and its observations on the mix of emotional needs and power in the main relationship. A strong portrait of unbalanced bonds.

  • King: A Filmed Record... Montgomery to Memphis

    King: A Filmed Record... Montgomery to Memphis


    A three-hour assembling of Martin Luther King trajectory envisioned by producer Ely Landau (better known for his attempts to bring prestige theatre to film) as a special event that was supposed to screen one day only through the country. Those good Hollywood liberals, Sidney Lumet and Joseph L. Mankwieckz got the job of putting the movie together (John Carter and Lara Hays are credited as the movie editors who might arguably be the most important here), but don't get credit…

  • Rabbit, Run

    Rabbit, Run


    On the literary adaptations time forgot: John Updkie's Rabitt, Run was given to 60s/70s hack Jack Smight and he made the nothing movie one would expect of him. This has no idea of what to do with the novel besides a cliff notes version of the plot and given that it is just a series of questionable decisions of a dissatisfied guy that can’t make his mind, it barely makes for much of a movie. His two romanic relationships, wife…

  • Performance



    Persona if that was really about two auteurs struggling to control the meaning inside the shot. Ultimately, Roeg bombast is what keeps the eye attention, while Cammel’s fresh gives it some weight. It doesn’t work without their not always happy shotgun marriage. The movie is its artistic process, which also means it can often suffer because Roeg is such a better-known artist and his style so easy to detect. I don’t want to undersell Fox whose contributions pretty makes the whole mess possible.

  • Finian's Rainbow

    Finian's Rainbow

    I assume the only people who watch Finian's Rainbow are either Coppola or Astaire completists, it is hard to imagine why anyone else would bother unless they are really into late 60s studio UFOs. It is a big overblown musical in the late 60s style that tries to be a little at least self-aware about itself and tries to present its utopia in social relevant ways. Its thematic underpinnings aren't that far off from One from the Heart, if its…