Pasolini. I’ll be the first to admit that there is work to be done here on my end regarding Pasolini. I’ve seen six Pasolini films, once a piece, between the years 2004-2006. That certainly doesn’t
Carné. All three of Carné’s archiveable films land in the top 100 of their respective decade. There isn’t much beyond that as far as resume. I’ll get to it below but the disconnect I have
I’m not IMDB’ing what else Richard Thorpe directed by this is a solid adaptation of Twain with the perfect casting (even if he’s actually 19 years old) of Mickey Rooney as the titular heroRooney is
It is not on that level of an artistic achievement but I think Mike Leigh’s Happy-Go-Lucky (probably more of a triumph for Sally Hawkins—who is wonderful here-- than Leigh himself) makes for an interesting pairing
Trey Edward Shults’ Waves feels like something big. It is Shults’ third film—at the age of 31. Waves is a breakthrough for Shults’—it looks and feels like Krisha (Shults has an identifiable aesthetic—the mark of
There are 3 previous archiveable versions of Louisa May Alcott’s Little Women-- but Gerwig’s version is utterly distinct and cinematically spectacular—the only one close (and they’re all in the archives) is Cukor’ s 1933 version
Kevin Bacon and Kenny Loggins give this film just enough to sneak into the archives. The entire soundtrack (most of it original for the film) is perfect. Loggins, as mentioned, does much of it- but
Gillian Armstrong’s Little Women, the third archiveable version after Cukor’s 1933 version and the 1949 from Mervyn LeRoy, doesn’t feature transcendent direction, but it is an admirable adaptation thanks to a talented cast and a
Romero. Genre diehards will hate that’s it has taken me this long to get to Romero and vice-versa for those who view horror as some sort of lower art-form (which it isn’t—in the hands of
Sure, it’s always somewhat disappointing with an auteur who is capable of something like Carol, doesn’t live up to it—Dark Waters, as strong as it is, is NOT Carol – the artistic ambitions aren’t that
Cimino. Cimino is probably as well known for killing the fertile artistic period of American cinema of the 1970’s with expensive economic (but certainly not artistic) failure of Heaven’s Gate as he is for his
Donen. Donen has a unique case here. He has one bright shining star of a film (Singin’ in the Rain- just missing my top 100 by an eyelash) that he wouldn’t be here without. The
