One of Harold Lloyd’s best talkies—smart of him to tap Leo McCarey to shoot it (director of the very successful “talkie” comedies the Marx Brothers’ Duck Soup three years before) Remade as The Kid from

1.0 July 2019 Certainly like Inglourious and somewhat like Django- this is Tarantino’s correction-- to rewrite the collective tragic historical past.  Like Pulp Fiction does with the structure of the film with Travolta (and does

Rat-a-tat zaniness – bat$hit crazy for its entire 69-minute running time. Unlike lesser Marx Brothers films there’s no pretense made here about a straight story or love story- every sketch is fire, going for broke

Viewed January 2018 (probably 5th time) and April 2020 It’s an enormous masterwork—pure filmmaking ambitionCertainly, since it’s an ensemble piece set it in LA- you have to think of Altman’s 1993 Short CutsEbert calls is “operatic

A great film for any auteur at any stage in their career- but for Rensais to make Private Fears in Public Places at age 84—remarkablea sort of distant cousin of Resnais’ 1980 masterwork Mon oncle

It doesn’t rewrite the book on Robert Altman, Robert Duvall or James Caan by any stretch but it is a solid little film- rests somewhere outside the top 20 of 1967It was Altman’s first feature

There are two movements going on here in George Romero’s debut film Night of the Living Dead- a changing of the guard for the horror genre, and an important film for the history independent cinemaFrom

A staggeringly ambitious (both in grandeur and structure) early masterpiece—experimental Griffith lays out the complex structure in the opening titles—he’s weaving together moments of, yes, intolerance, throughout the ages—these four narratives unfold, in harmony, throughout

A strong entry into the horror/zombie subgenreI’ll be comparing it to other films below but I think it all starts with Romero’s work—sociopolitical entertainment in this specific mode The neglectful father is a fund manager,

An absolutely masterful dissection of the human condition, an accomplishment in editing, and a piece of cinema that should be used to showcase the possibilities strong film form A highly ambitious film without one single

The perfect marriage of this era’s greatest cinematic realists (The Dardenne brothers) and perhaps this generation’s most gifted actress (Marion Cotillard). This is their first time working with a “star”. I thought of Ingrid Bergman’s

Similar to Hiroshima Mon Amour and Last Year at Maridenbad in some regards (meditating on memory, a playful deconstruction of traditional plot and character motivations)—Muriel, of the Time of Return makes the tragic mistake, immeasurably