One of the great titles in cinema- if Harmony Korine’s Spring Breakers were called “Rebels of the Neon God” I think it would have twice the reputation it does now Ming-liang Tsai’s impressive debut. The
Kieslowski’s Three Colours: White is always going to be sandwiched between Blue and Red and probably for that reason it is unfairly overlooked. I’m guilty of this, too- and was flat wrong with my prior
It is a testament to Sorkin’s pen and the actors involved that even if he’s not much of a director, The Trial of the Chicago 7 is absolutely riveting It opens on Lyndon Johnson footage—and
It is the first film in Kieslowski’s Colours trilogy but also makes for a fine companion piece with The Double Life of Véronique which is Kieslowski’s film that precedes it. The story is a little
It is the Monty Python clan’s first narrative feature film and it is absolutely hilarious. Gilliam’s feature debut as well as he co-directed with Terry Jones Makes for a nice pairing with Woody’s comedy Love
So in 1993 and 1994 there was a bit of a war between Tombstone and Wyatt Earp. Costner was once attached the Tombstone film, parted ways after artistic differences and decided to make his own
Lon Chaney, the man of a thousand faces, carries this film playing dual roles – both The Blackbird and The Bishop- his own little version of Jekyll and Hyde A strong opening- a montage of
Kieslowski’s The Double Life of Véronique is so enigmatic and lyrical—it almost makes his previous films seem like prose and this is his first attempt at poetry (more description than praise or a critique). This
With Tarkovsky gone (died in 1986), Bresson’s last archiveable film behind us (1983) and with Bergman’s last major work in the rearview as well (1982-also, partially, through television)—the stage was clear for Kieslowski to take
The sixth film in Kieslowski’s Dekalog – a series of ten moral tales about or surrounding each of the ten commandments. This is a companion to episode five- A Short Film About Killing and both
A severe 84 minutes shot through a hazy green/yellow filter with heavy shadows. It is some of the best 84 minutes of cinema in the 1980’s—pure and perfect. A severe 84 minutes shot through
