Samurai Rebellion – 1967 Kobayashi


It’s the 3rd archiveable (and very impressive) film I’ve seen from Kobayashi—we have Harakiri in 1962 and Kwaidan in 1964 From the opening credits you know this is an artistic work—we have multiple shots of

Samurai Rebellion – 1967 Kobayashi2020-07-03T10:31:14+00:00

Boogie Nights – 1997 P.T. Anderson


Though it’s not P.T. Anderson’s true debut (Hard Eight), Boogie Nights marks the inauguration of a nearly unrivaled cinematic talent In my 1997 review I called it a “sonic boom”— there’s such electricity and energy in the

Boogie Nights – 1997 P.T. Anderson2017-12-28T16:09:51+00:00

It’s a Wonderful Life – 1946 Capra


It’s pure cinematic transcendence in narrative, acting and writing—that much is clear and inarguable. I think though, this viewing has taught me what a doggedly formal work it is so I’ve taken it to another

It’s a Wonderful Life – 1946 Capra2020-07-03T10:31:14+00:00

A Christmas Story – 1983 Bob Clark


The film brilliantly blends five things: It’s cynical and nostalgic at the same time which is incredibly hard to pull off. Jean Shepherd’s deft wordplay (the voice over- which he also does the voice of)

A Christmas Story – 1983 Bob Clark2017-12-27T21:02:19+00:00

Black Christmas – 1974 Bob Clark


I was very impressed with the film aside from some awful scenes of attempted broad comedy (in otherwise a pretty straight horror) with Marian Waldman as Mrs. Mac Great POV opening that could’ve been in

Black Christmas – 1974 Bob Clark2020-07-03T10:31:14+00:00

Darkest Hour – 2017 Joe Wright


There are really two stories here: Wright and Oldman-- For Oldman it’s a massive triumph. He completely disappears as Winston Churchill and, instantly, puts himself above other actors who have played him (Finney, Spall, Gleeson,

Darkest Hour – 2017 Joe Wright2020-07-03T10:31:14+00:00

The 3 Penny Opera – 1931 Pabst


I’m not overly familiar with Brechtian style so have to do my best here to analyze the film based on my cinema knowledge. I do know that Brecht believed in the distancing effect—or the alienation/estrangement

The 3 Penny Opera – 1931 Pabst2017-12-27T19:21:41+00:00

Creature from the Black Lagoon – 1954 Jack Arnold


B-movie budget 50’s sci-fi—not high production values and the acting, typical of Arnold’s films, is a little wooden—but I thought it was intelligent and, unlike many films in this genre from the era, not overly

Creature from the Black Lagoon – 1954 Jack Arnold2018-03-28T18:14:43+00:00

Zodiac – 2007 Fincher


A masterpiece of both narrative brilliance and visual splendor A rich study in obsession—clearly influenced by the grittier 1970’s American New Wave cinema—like Lumet, Pakula and Coppola’s the conversation. At the very end a character tells

Zodiac – 2007 Fincher2021-06-11T21:42:24+00:00

Pandora’s Box – 1929 Pabst


Pabst’s film features an enthralling narrative and rich characterizations Louise Brooks and her tragic character, Lulu, are/were so influential to the time and to cinema lore (see films and outright homages by Tarantino (hair by

Pandora’s Box – 1929 Pabst2017-12-20T17:47:59+00:00

The Bishop’s Wife – 1947 Koster


It’s right on the fringes of the archives for me. Cary Grant and Loretta Young are very good it in Apparently Grant switched roles with Niven—and thank God- unless it was an entirely different movie

The Bishop’s Wife – 1947 Koster2017-12-19T19:45:16+00:00

Seven – 1995 Fincher


Seven is formal and visual magnificence. The precision in the execution more than makes up for whatever creativity the common and often repeated plotline looks like on paper. The results are one of the best

Seven – 1995 Fincher2017-12-18T19:54:23+00:00
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