Made by DRM Productions (Dorothy and Robert Mitchum)—and it’s carried by Mitchum. Not only is his performance by far the best thing about it (some would say the only thing) which helps those who believe

The best film I’ve seen from Ida Lupino (who also co-wrote the screenplay) and an excellent film noir entry.  Apparently at the first film noir by a filmmaker director and at the time the only

Three-pronged film: an innovative biopic, a work from a clear auteur, and a political/historical film marking the end of the 19th century and a 50 year occupation of Japan in TaiwanTien-Lu Li plays himself in

1.0 July 2019 Certainly like Inglourious and somewhat like Django- this is Tarantino’s correct to rewrite the collective tragic historical past.  Like Pulp Fiction does with the structure of the film with Travolta (and does

Another strong entry from HHH. The artistic success of Daughter of the Nile depends on one reoccurring image, the Ozu-like depth of field framed (by two sets of doors) living room and table of the

Liza Minnelli is a massive star in the 70’s after Cabaret (1972) and a major talent—but she’s also the daughter of Vincent Minnelli and the film here, with the beautiful artifice of the production design

In the archives after one viewing but I can’t go beyond a simple recommend – the film was successful in its goals but didn’t find the ambition to have a high degree of difficultyI thought

To date- easily the second best film I’ve seen from To Kill a Mockingbird director Robert MulliganAn engaging narrative- nostalgic- notable for the sweeping melodic Oscar-winning musical score by Michel Legrand (Jacques Demy work—Umbrellas, Godard,

Hsiao-Hsien Hou memory piece- he shoots almost everything in a medium-long shots, static camera, long takes with bodies in the frame. The compositions here are not on the level of his 1985 breakout A Time

This is the earliest Hsiao-Hsien Hou film I’ve seen and it’s an impressive work—it’s most outstanding for the hypnotically beautiful compositions. HHH doesn’t move the camera, doesn’t work in close-up really, we have these (below)

The melding of comedy and violence a la Tarantino with some of the stream of consciousness metanarrative work of Charlie Kaufman (particularly Adaptation)—Martin McDonagh’s strengths are in his writing Adore the glowing 0/4 review from