Ultimately it’s a slight disappointment after the promise of David Robert Mitchell’s talent in 2014’s It Follows (this isn’t as good) but I thought enough of it to archive it, scratch my head at how

On the surface it feels like an odd choice for a Scorsese filmMost of his films are modern, rated R (a hard R usually), they’re about the quote “lower class” or underbelly of society, and

After one viewing I think this is James Gray’s finest work—and I say that as a big admirer of Gray as an auteur--  each of the last four films of his has made it onto

Pretty easily in the archives- director Lorene Scafaria get a powerhouse capital “S” Star performance out of Jennifer Lopez and gives us a Goodfellas-like/lite (description of the style, entertaining narrative, and rise and fall story-arch

Director Christian Gudagast clearly worships at the altar of Michael Mann and Heat – haha- at least half the reviews mention it (what are the other half watching?)Gerard Butler is really strong in the lead—drunk,

Two elements make this one of 2015’s best films--- the wall-art photography exterior establishing shots (this is actually new for HHH after 3+ decades of making films) and the interior use of silk curtains to

I’m not the world’s biggest admirer of Roland Emmerich (I think this is the only film in the archives) but I think this one is worthy of a fringe recommendation and entry to the archives

It was no secret at the time that this was a “one for them” project in a deal he made with Spielberg’s Amblin/Universal after more passionate projects like The Last Temptation of Christ and Goodfellas

One of Scorsese’s three finest films (spending too much time arguing between this Raging Bull, and Taxi Driver isn’t fruitful) which puts it up there all-time with any film (it is my current #22 film

Seeing it here (probably for the 5th time) for the first time in the immediate wake of Scorsese’s previous oeuvre is to see the connective tissue between with the Catholic guilt that pervades so much

It’s a different film than 1982’s First Blood- this is more like a straight revenge (simple, over the top) 1980’s action B-movie. First Blood is trying to say something and strikes a more specific mood---

So Café Lumiere (from 2003, one of HHH’s strongest efforts) was an outward homage to Ozu while still staying true to Hou’s voice and brand as an auteur himself--- this is much the same with