It’s a Noé film in style, subject, and narrative structure. The camera floats around in wonderful long takes like an ethereal being, it’s filled with drugs, sex, and violence and we get a spin at

Guerra’s second straight excellent film after 2015’s Embrace of the Serpent. It’s telling a traditional (this one even more traditional) from a different perspective. This is the rise of a crime family but from the

Often cited as the first French New Wave film—and Varda the “Grandmother” of the new wave. I’m not sure about that- and not sure it matters—it’s a great film and—the style is unique and abundant-

A cop drama that looks like every cliché on paper—done with ingenuity and nearly flawless execution- a great filmStarts with bang-- hand-held chase- a wild flashback in washed out colorThen at the inquest we have

A journey through the jungle narrative in the vein of Coppola (Apocalypse Now), Herzog (Aguirre), and others. James Gray’s The Lost City of Z the year after in 1916This is different in two main respects,

A wild experimentation of visual style and a hell of a debut for Sergei Parajanov An unbridled aesthetic achievement—he throws the kitchen sink at it so to speak stylistically—it doesn’t all land, and you don’t

It’s up not up to Whiplash, Chazelle’s breakout second feature, and I’m positive it doesn’t touch La La Land his stylistic sonic boom 2016 masterpiece Shot in 16mm grain for much of it, then 35

A solid melodrama—I believe both the most expensive film of 1947 and the highest grossing box office film--- condemned by CatholicsOne of new 40’s Fox films in color- great to see Linda Darnell’s red hair—certainly

Famous/infamous for being the most expensive movie of all-time when you adjust for inflation—apparently at or nearing 60m in budget in 1963—the other thing it’d be famous/infamous for is for the Liz Taylor and Richard

An engaging and detailed docudrama proceduralHoward Shore does great work here with his subtle scoreAcademy Award winner for best picture and screenplay and that—and the acting- are the strengths of the film—I’m not dying to

Dirk Bogarde is fantastic-  not only a dual role (they didn’t really have these in 1959 like we see with Dead Ringers, Adaptation and so many others more contemporary cinema – I guess Alec Guinness

1.0- October 2018 electricity on the stage thanks to Aronofsky's DP Matthew Libatique and raw intimacy in the dramatic off-stage scenes thanks to two (or three if you count sam elliott) powerhouse performances (tremendous moment