Brian Donlevy stan account.
Fourth favorite is a recent watch that I particularly dug.
You can count on me.
Billy Tully survives on lies. Lies to the people around him and, most importantly, lies to himself. Lies about his potential as a fighter. Lies about his losses. Lies about his marriage. Lies upon lies upon lies, all of them required to build the rickety, Potemkin village of a life he's crafted for himself.
Billy's losses belong to others, whether they're in the ring, or in his personal life. He fell out of boxing because…
I love this movie beyond measure. I love its chokingly lyrical (and so very Raymond Chandler), inch perfect screenplay. I love its dark humor, and the absurdity of glamorous Phyllis and anxious Walter skulking around a grocery store so aggressively sterile it seems to come from inside the monolith in 2001. I love the long takes, and the way the austerity of Billy Wilder's shooting style contrasts so perfectly with the labyrinthine language and tale it's recording. But, most of…
The first half of Alucarda is pure atmosphere, something that feels much more like the work of Jess Franco or Jean Rollin, than it does Alejandro Jodorowsky or Ken Russell, two directors whose styles and themes the film's second half channels.
And it's that first half that's most narratively compelling, with its story of Alucarda and Justine, two lonely teenage girls who, in the strict, gray, all-too-predictable world of their convent orphanage, find joy and pleasure in one another. Theirs…
Dead Pigeon on Beethoven Street is Sam Fuller's The Long Goodbye, and Sandy his Marlowe. Incompetent and in far over his head, Sandy nevertheless determinedly pretends at control. Whether it's with a woman, a mark, or a hood, Sandy performs something very like confidence, striving to present himself as a man who knows who is and is in command of his world. And, nearly every time, his bluff is called, and he finds himself handcuffed, beaten up, or whispering sweet,…
In The Conversation, Harry Caul interacts with the world only from a great distance, reducing relationships to a minimum and avoiding human contact as much as possible. His agony is evident in his every, isolated move, as is his desperation for relief.
In Blow-Up, Thomas imposes himself lavishly upon his tiny corner of the world, demanding that women obey his orders and assuming that his interests will become the interests of the few men around him, so wrapped up in…
It's not desire that is dangerous in Max Ophüls' Le Plaisir (based on a trio of stories by Guy de Maupassant), it's the fulfillment of that desire that is the curse.
The men in the film who seize what they desire — for one, a youth spent in the beds of beautiful young women who were not his wife; for the other, a marriage to the model he loves — are cursed for selfish foolish short-sightedness, living lives steeped in…