I certainly hope David Gordon Green returns to this more experimental version of himself—he’s still only in his early 40’s and has 5 archiveable films but going back and reading roger eberts 4 star review
The great auteur Sidney Lumet proves that at age 83 he still has it. The film is a completely enthralling morality play that is strategically edited and filled with great performances It has much in
The opening scene, a dream sequence, has an absolutely astounding use of cinematography. It’s very distinctive as well- aggressive camerawork despite it being a tracking shot and ballet. The wound in Portman’s back are reminiscent
It’s in color and cinemascope but is still very much a Kazan film- driven by characters, their discourse and paced with strong performances Solid color photography- location shooting in Tennessee Opening doc footage in black
The film is an early one for Bogart, and he’s good in it, but it’s in the archives based on the strength of Wyler’s direction It’s so weird to see Bogart get third billing-
From an evaluative quality comparison standpoint it is not as good as milos forman’s one flew over the cuckoo’s nest, sam fuller’s shock corridor or terry gilliam’s 12 monkeys but it’s still an archiveable film—it’s
There’s enough to praise from an artistic standpoint to earn a right into the archives The aerial sequences, oscar nominated sound is really superb But mainly it’s Tony Scott’s frenetic montage editing- which was incorrectly
Gloriously shot in Panavision (disney’s first) on location in Tobago It is a decent narrative- but there’s a bit of a trader horn travelogue “trip to the zoo in 1960” feel to it. Not nearly
Most notable and solely archiveable for the performances- chiefly the Oscar winning performance from Forest Whitaker. His Idi Amin would make a good comparison with Idris Elba’s work in beasts of no nation. Whitaker is
Sacha Baron Cohen is a comic genius and this is his greatest achievement to date. He’s a provocateur like lenny bruce or richard pryor A rare 4 star review from RS Peter Travers—but then he
It is an excellent film but it’s the least “aronofsky” (or tied with noah) of the aronofsky films and therefore near the bottom of his films when ranking his oeuvre- its stylistic ambitions are not
Apocalypse Now is the second best film of all-time, which makes it the greatest war film, perhaps the greatest singular usage of set pieces in cinema, coppola’s finest film, amongst other praise I’d love to
