It is not auteur cinema (though J. Lee Thompson directed The Guns of the Navarone the year before as well) but features a magnetic Robert Mitchum performance and one of the great Bernard Herrmann’s best

A masterpiece like the Tolstoy novel it was adapted from--- it Is not—but I do believe the reputation for King Vidor’s film would be better if it weren’t “War and Peace”Shot in glorious VistaVisionThe tableau

Viewing 1.0 in 2018 Heller is two for two in the archives with this and her debut from 2015- The Diary of a Teenage Girl – she’s not an overly strong director- but these are

Like so much of von Trier’s work it has moments of utter brilliance and moments you want to throw in the garbage—and not just because of the scandalous nature of it but as an artistic

A dueling vendetta film like 2002’s Changing Lanes—maybe more distant cousins of Crimson Tide or Ridley Scott’s The Duellists The four leads are strong. It’s led by Octavia Spencer (who is always good), from It

HHH has a history of making short films and taking part of anthology films (even the brilliant Café Lumiere started out as an anthology project)—this is a three-pronged anthology film about love set in 1966,

2nd, or even 3rd tier Scorsese is still better than almost everything else out thereStarts with a voice-over from Scorsese himself like Mean Streets—then we get the strong Robbie Robertson music drop during the credits

It’s a very solid social drama/thriller notable for the debut of Sidney Poitier and the strong performances by both he and Richard Widmark (who play an extremely vile racist) Poitier and Widmark are so good

It’s a tremendous disappointment for any project directed by Richard Linklater and starring Cate Blanchett to be a fringe recommendation—let’s get that out there first. It lacks authorship and though it’s a solid film (it’s

Based on Volpone (in the text all over the place) from Ben Johnson—a play in the 17th century. It’s witty. Definitely feels like Agatha Christie or Charlie Chan (in the text as well) or even

There’s a stunning shot in the first third of the film as we go from the current strand of time to a long flashback. The camera starts next to a portrait of Edward G. Robinson

Not to be confused with the 1942 Hitchcock title Saboteur- this one is from Joseph Conrad’s “Secret Agent”, is an extremely brisk 77 minutes, and is most noteworthy for a brilliantly dramatic editing sequence featuring