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La Notte – 1961 Antonioni

Second part of the unofficial "Incommunicability Trilogy" also including L'Avventura (1960) and L'Eclisse (1962). It’s ridiculously epic run for Antonioni. It’s there with Fellini, Godard and Truffaut during this stretchThe film is a favorite film

L’Avventura – 1960 Antonioni

A triumph of mise-en-scene compositions Opaque, lyrical and ambiguousLocation shooting off of Sicily- the rocky Aeolian islandIt was a landmark in 1960 and stands as one today (somewhat- we have the works of Ozu and

The Other Side of the Wind – 1976 Welles

It is a hazy work- uneven with some strong highpoints- famously the “greatest unreleased” or “unfinished film” with tremendous production, post-production issuesLargely it’s a departure from Welles black and white, gorgeously (and creatively) framed mise-en-scene

The Big City – 1963 Satyajit Ray

A step down from the Apu trilogy and The Music Room but still true to form for Ray’s oeuvre Observationally nuanced and best appreciated and recognized Ray’s already established great strand of work in the

The Ballad of Buster Scruggs – 2018 Coen

It's no Llewyn Davis but stronger than Hail, Caesar if we're tracking the Coen's work this decade. It's their 17th archiveable film- unreal. I have no doubt it'll reward multiple rewatches and at no point in their six-part anthology

The Mark of Zorro – 1940 Mamoulian

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

Vice – 2018 McKay

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. 

The Trial – 1962 Welles

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,

Il Grido – 1957 Antonioni

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

The Lady Without Camelias – 1953 Antonioni

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

Paddington 2 – 2017 Paul King

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

Roma – 2018 Cuarón

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

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