The Mark of Zorro – 1940 Mamoulian

2020-07-03T10:29:52+00:00

Tyrone power very strong as both the arrogant cad and the sword-fighting heroHe’s not on Fairbanks level as an acrobat but it’s a different film, silent vs. talkie—the strengths here are mainly the climactic duel

The Mark of Zorro – 1940 Mamoulian2020-07-03T10:29:52+00:00

Vice – 2018 McKay

2020-07-03T10:29:52+00:00

It's flawed, and didactic (something I use as description more than a criticism) but it’s definitely of the same unique and ambitious style of the big short -- a film I greatly admire. Vice is in the archives for me. 

Vice – 2018 McKay2020-07-03T10:29:52+00:00

The Trial – 1962 Welles

2020-07-03T10:29:52+00:00

One of the major revelations- and best films- I’ve seen in 2018. I have seen it before, twice I think, but always on really inferior copies (this is not much better), over a decade ago,

The Trial – 1962 Welles2020-07-03T10:29:52+00:00

Il Grido – 1957 Antonioni

2020-07-03T10:29:52+00:00

Bare trees, constant fog, barren industrial set pieces (that finale—astonishing)- it’s another glorious triumph for Antonioni Antonioni’s only film subject set in the blue-collar working class (which in a way touches neo-realism as close as

Il Grido – 1957 Antonioni2020-07-03T10:29:52+00:00

The Lady Without Camelias – 1953 Antonioni

2020-07-03T10:29:52+00:00

An impressive achievement from AntonioniA long take opening lingering on Lucia Bosé through the credits along the streetRemarkable early scene that has the trademarks of Antonioni’s trademark mise-en-scene—a kiss on a bed, camera glides in

The Lady Without Camelias – 1953 Antonioni2020-07-03T10:29:52+00:00

Paddington 2 – 2017 Paul King

2020-07-03T10:29:52+00:00

An enjoyable abundance of visual treats and I don’t go on this long for unarchiveable filmsI love the pop-up book sequence- very imaginative- it’s like a montage in one simulated long-take The main auteur influence

Paddington 2 – 2017 Paul King2020-07-03T10:29:52+00:00

Roma – 2018 Cuarón

2020-07-03T10:29:52+00:00

It’s almost daunting to know where to begin with Cuaron’s latest- a masterpiece. Here he serves as his own DP (debunking any possible theory that it’s Emmanuel Lubezki (Chivo) who is the actual genius at

Roma – 2018 Cuarón2020-07-03T10:29:52+00:00

Holiday Inn – 1942 Sandrich

2020-07-03T10:29:52+00:00

14 songs in just over 100 minutes- similar daunting gauntlet to Berlin’s Easter ParadeFamously for the first used here- the luminous song “White Christmas”- for decades the #1 music single of all time The narrative

Holiday Inn – 1942 Sandrich2020-07-03T10:29:52+00:00

Gravity – 2013 Cuarón

2020-07-03T10:29:52+00:00

A transcendent display of cinematography (The Bordwell definition- not the Academy definition which is closer to photography)- camera movement that perfectly matches the place and story90 minutes- tight- Cuaron is just a perfectionist—last film was

Gravity – 2013 Cuarón2020-07-03T10:29:52+00:00

The Favourite – 2018 Lanthimos

2020-07-03T10:29:52+00:00

A masterpiece of auteur-driven formal and aesthetic choices, brilliant acting and one of the year’s best screenplaysIt’s entirely Lanthimos—black, absurdist, profane—but it’s impossible to watch without thinking about Mankiewicz’s All Above Eve (the power-play with

The Favourite – 2018 Lanthimos2020-07-03T10:29:52+00:00

Unlawful Entry – 1992 Kaplan

2020-07-03T10:29:54+00:00

There are artistic ambitions right from the get-go her with a helicopter shot going from a crime scene across town over to the house of Madeleine Stowe and Kurt Russell like Hitchcock would often as a

Unlawful Entry – 1992 Kaplan2020-07-03T10:29:54+00:00

National Lampoon’s Christmas Vacation – 1989 Chechik

2020-07-03T10:29:54+00:00

Some hits (the entire squirrel slapstick sequence, getting stuck in the attic, any scene with Randy Quaid) and misses (the sledding scene should’ve been cut) but enough redeeming qualities to archive- especially as a “writer

National Lampoon’s Christmas Vacation – 1989 Chechik2020-07-03T10:29:54+00:00
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