A Day in the Country – 1936 Renoir

It’s a truncated film made from a feature project that was turned into a short film because of Renoir’s inability to finish It has just gorgeous photography (Visconti was the dp)—many critics have marked that

Cluny Brown – 1946 Lubitsch

Sadly, not one of his best films, this was Lubitsch last before his death It still has the trademark “Lubitsch touch”- which is mainly sophisticated dialogue and narrative (I think someone orders a martini in

The Parallax View – 1974 Pakula

It’s the middle film in the paranoia trilogy Pakula did from 1971-1976--- all 3 films (klute, all the president’s men) are superb Rightly so- this films comes up often when critics talk about the best

Comes a Horseman – 1978 Pakula

It seems like an odd choice to make a Western (albeit a 20th century-set western) after the paranoia trilogy of klute, parallax view, and all the president’s men. Pakula seems freed of the dark city

Orlando – 1992 Potter

Swinton gives a masterful, even luminous performance here- it may be her best work Love the 400 blows- like stare and shot at the end of the film The film is very meta and reflexive

The Horse Soldiers – 1959 Ford

Certainly a lesser archive entry from Ford This is a really nice title sequence shot at magic hour with the sun in the background with music playing and a long string of riders single file

We Own the Night – 2007 Gray

Another shockingly underrated film from Gray- I hate to admit it but the French (who adore Gray) are certainly correct in anointing him as a major auteur even when the MC critics (59 score) misevaluate

The Yards – 2000 Gray

After a disappointing debut, little odessa, it is the arrival of young auteur (31 at the time) James Gray Gray’s marks as auteur draw tons of similarities to coppola- the classic narrative here (which is

Accident – 1967 Losey

It opens with a powerful shot with accident audio off camera and a great dolly shot focusing in on the house From that strong opening there’s a real sense of strong framing with the bottle

The Entertainer – 1960 Richardson

It’s the second film from Richardson after his debut the year prior look back in anger (1959), part of the sort of british new wave but better known as like the angry British films from

Citizen Kane – 1941 Welles

The film is nothing less than a perfect melding of cinematic ingenuity and narrative brilliance- both perfectly executed and daringly unique It’s jarring how different it looks than every other film before it and nearly

Sudden Impact – 1983 Eastwood

It’s the 2nd best Dirty Harry film after the 1971 Don Siegel original. This one isn’t nearly as good but again has a great director- this time Clint himself. Most well-known for the famous “go

Load More Posts