Red Beard – 1965 Kurosawa


The end of an era for Kurosawa- his last film in black and white, his last film (sixteen total I believe) with Mifune, and last film of the 1960’s (it is my understanding there were

Red Beard – 1965 Kurosawa2020-08-07T14:33:15+00:00

White Dog – 1982 Fuller


Not surprising that this wild tale is based on a true story (Fuller’s  modus operandi usually) --- it is violent and charmingly crude Never released in the US in theater – and it does have

White Dog – 1982 Fuller2020-08-06T19:01:42+00:00

Celine and Julie Go Boating – 1974 Rivette


Rivette’s fifth film- a 193 minute comedy shot in a grainy crude 16mm Mixes the comic whimsy of Juliet Berto and Dominique Labourier (they have an undeniable chemistry), mystery and magic, and an airy self-awareness

Celine and Julie Go Boating – 1974 Rivette2020-08-05T10:59:49+00:00

High and Low – 1963 Kurosawa


I may not be quite ready to make it yet, but I think there’s a legit argument to this being Kurosawa’s greatest single work—and his 1960’s being even stronger than his run during the 1950’s

High and Low – 1963 Kurosawa2020-08-04T16:25:03+00:00

The Big Red One – 1980 Fuller


It is the film that meant the most (along with Park Row) to Fuller, and the one he was leading up to his entire life. War (Fuller was a WWII vet and much of this

The Big Red One – 1980 Fuller2020-08-02T14:49:46+00:00

The Adventures of Tintin – 2011 Spielberg


It certainly isn’t an essential part of the Spielberg canon- but enough elements worthy of praise to slip into the archives The credit sequence is certainly one of the greatest moments of the film—reminiscent of

The Adventures of Tintin – 2011 Spielberg2020-08-02T13:07:30+00:00

The Nun – 1966 Rivette


Rivette’s dedication to the visual motif of imprisonment, bars holding Anna Karina’s Suzanne is quite the formal achievement Rivette’s second feature after 1961’s Paris Belongs To Us. Godard had made 9 features in that time-

The Nun – 1966 Rivette2020-07-31T13:55:42+00:00

Paris Belongs to Us – 1961 Rivette


The debut French New Wave auteur Jacques Rivette—a leisurely-paced, but fascinating paranoia-infused opaque mystery 142 minutes for a debut- indeed, even early, Rivette is the long-form voice from the New Wave A strong opening as

Paris Belongs to Us – 1961 Rivette2020-07-31T12:55:35+00:00

Big Wednesday – 1978 Milius


Chiefly, the carefully structured form of the story into four sections, is worthy of admiration. For every chapter break, Milius, a great writer, has the voice-over set to the landscapes of the shoreline. He names

Big Wednesday – 1978 Milius2020-07-30T16:27:22+00:00

Sanjuro – 1962 Kurosawa


The narrative lacks the brilliance and freshness of Yojimbo (that can happen with sequels- same music borrowed here) and the worldview is a little more optimistic than Kurosawa’s finest work—but damn, Kurosawa sets up immaculate

Sanjuro – 1962 Kurosawa2020-07-29T17:21:18+00:00

Bedazzled – 1967 Donen


A very funny film, it is no great accomplishment for Stanley Donen—any number of directors could have pointed the camera and comedians Dudley Moore and Peter Cook Moore and Cook were a sketch comedy duo—talented.

Bedazzled – 1967 Donen2020-07-28T20:41:02+00:00

The Naked Kiss – 1964 Fuller


An abnormal blend of B-movie melodrama and crime thriller—only Sam Fuller could deliver A strong opening- hand-held camera of Constance Towers (back with Fuller from their work together the year before in Shock Corridor) in

The Naked Kiss – 1964 Fuller2020-07-28T17:35:22+00:00
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