With his patented long takes, sparse dialogue, stationary camera, lack of close-ups, and undoubtedly his own unique rhythm —this is strong auteur cinema. Yet, like many of Ming-liang Tsai’s prior works (this is his eighth
There are a few films that may be equal to Barry Lyndon’s visual beauty (from Days of Heaven, In the Mood For Love, others-- including works from the great Kubrick himself) – but none that
Continues Mel’s meditation on violence (and beautiful photography- this film handsome to look at)- Braveheart, The Passion of the Christ and Apocalypto. Andrew Garfield's character is religious, and the scenes in the second half on
Masterclass acting from Mark Ruffalo is on display in Derek Cianfrance’s six hour tragedy I Know This Much Is True has relationship and anger issues that remind you have his stunning breakthrough film Blue Valentine
This is yet another reminder to seek out the film made directly following a masterpiece from any major auteur. I talk about Marie Antoinette from Sofia Coppola often, Woody’s Interiors following Annie Hall is one
Mira Nair’s first feature after working in documentary films and that experience is certainly put into play here (location shooting, non-professional actors largely in the cast). This is realism, from the Italians in the 1940’s
I forget Richard Lester is from Philly— between this here, The Knack… and How to Get It, and A Hard Day’s Night from the year before- the most 1960’s swinging-London films of all-time (along with
Ming-liang Tsai’s seventh feature – and quite a controversial one with the sex and soft-core pornography (which is certainly part of Ming-liang Tsai's critique). Ming-liang Tsai is commenting on the porn culture (and more importantly
Paul Schrader’s first screenplay—coming from a story by his brother (who spent a lot of time in Japan), touched up by Robert Towne (wow), directed by a hot Sydney Pollack (coming off of Jeremiah Johnson
Ming-liang Tsai’s sixth feature is his shortest at 82 minutes, almost entirely silent (no more than a few lines of dialogue in the film and then you overhear the dialogue from the 1967 Dragon Inn
Joel McCrea is rock solid Jimmy Stewart stand-in and the supporting cast here is loaded with steady actors—but it is the great Jacques Tourneur’s direction, particularly early on in the film, that makes it more
A charming little film that showcases some best of Billy Crystal’s comedic talents. Crystal was on a roll in 1991—not exactly a Kevin Costner sort of roll, but When Harry Met Sally was in 1989
