Resnais started Hiroshima Mon Amour as a documentary (he had made shorts and documentaries before but this is his debut) and then he integrates that into a brilliant blend of an almost David Lean-like Brief

There are two films here within one—the opening first 30 minutes or so, the part where she is captured and held capture is brilliant cinema- a fever dream montage of arresting images, lighting and camera

first viewing October 2019--- 2.0 March 2020A very notable artistic accomplishment by both Todd Phillips and Joaquin PhoenixPhoenix’s work is easier to tackle but I still feel like you could easily write 2000 words on

It begins with a strong 180-degree panoramic pan shot and quickly, like Keaton’s sophomore and breakout feature Our Hospitality, we’re introduced to two rival men and families- King and Stonewall Jackson. And like Our Hospitality,

A sad disappointment given Keaton’s talents as an auteur and the fact that this is the film most immediately following The General – an incontestable masterpiece Long speeches from Keaton here with text titles—this is

A set piece high-wire act that last for nearly the entire duration of the film At age 31, Keaton has a second unassailable masterpiece between this and Sherlock Jr. in 1924As we open, the camera

Like almost all of Keaton’s works – this one ends with a bang—spectacular set pieces and a wild chase The very first sequence as is strong well- seasons changing in front of the house as

A jaw-on the floor masterpiece, and, believe it or not, one that doesn’t really take off and fly until the last 20-25 minutes—so you can imagine how good those last 25 minutes are There are

A brilliant premise- a play on the Hatfield and McCoy feud—here we have the Canfield and McKay family. The comedy unfolds (after a really good dramatic thunderstorm-aided opening of the two elder namesakes in a

Buster’s debut feature film—my first time catching it and I’m very happy I finally did. It doesn’t have the polish of his second feature, 1923’s Our Hospitality, but it is certainly funny, and ambitious, here

It may be the least (or close) of the 11 archiveable Keaton films made from 1923 to 1929 but they all should be studied and appreciatedYou’ll notice frequently in the titles Keaton puts himself way

It has some of Schrader’s trademark erotica fetishism, visually he deftly channels Visconti, Ozu, and Antonioni to deliver exhilarating cinematic style If anyone thinks Schrader is merely a screenwriter this is as good a place