I don’t think Soderbergh’s remake from 2001 is close to his best work but it’s still slightly superior to the original Ocean’s 11 here Apparently they shot this film during the day as the Rat

The one and only film from opera director Leonard Kastle He famously hated Bonnie and Clyde for being so glamorous and beautiful so this is his answer- “real” people and a 1970 doc-like stark black

A superior formal work—poetic and beautiful Post-WW2 of course with his cohorts Sakamoto in Ryu in support but it’s really a simple story of Kinuyo Tanaka (superb) who has to prostitute herself to pay for

It’s a minor revelation for me- first time seeing it since theater in 2007 when I liked it as an entertaining movie, but was largely oblivious to Soderbergh’s clear mise-en-scene brilliance on display--  it's an art

It’s a blending of Ozu’s brilliant style and a bit of post WWII neo-realism—truly works Ryu and Sakamoto in support here but Chôko Iida is superb in the lead performance—full arc, gruff and indifferent at

It’s borderline archiveable for sure and I wouldn’t have a long argument with someone who said it wasn’t worthy of rewatching. For me, I think there’s enough here to admire, enjoy, and study The man-made

It’s a very entertaining film- a strong narrative, great actors (clearing having a ball), and well directed by Soderbergh who edits it fiercely at a great pace and utilizes his unending talents as a director

I think it’s Ozu’s best narrative to date and Ryu’s enduringly stoic father here is the best performance I’ve seen in an Ozu film (and one of the better overall performances of the 40’s) Eloquently

Soderbergh, again as his own Director of Photography here, has an excuse to go crazy with his lighting schemes and production design and it’s quite a marvel—it’s the main reason I’m archiving this film- he

The most financially successful and expensive bond film from what I’ve read (with inflation)- in fact, crazily enough it’s more expensive than the previous 3 combined (this is the 4th installment)—it’s also, the worst of

One of the great stylists and auteurs working has given us a prodigious masterpiece and achieved his full and unique vision (not to mention a statement on the impact of storytelling, art, and the loss

As is with all of the better Ozu films- there is the drama and the pillow shot cutaways. Here the main drama deals with the family in the title, the death of the patriarch, mother