Browsing: Reviews

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The Stranger is Bengali filmmaker Satyajit Ray’s final film and a fitting capstone, overflowing with the curiosity and humanist ideals he espoused throughout his nearly fifty-year film career. At seventy years old, Ray had perfected his own version of “late style” (like Carl Dreyer, Luchino Visconti, and Yasujiro Ozu before him), a lucid …

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The Wizard of Oz has a sobering moment for its characters: Dorothy and her friends pull back a curtain to reveal that the ominous Oz is nothing more than a man running a machine. It is a moment that shatters their image of this deified being and turns him into a common person. While watching Only Lovers Left Alive (my first Jim …

Reviews 13950-1

A Most Wanted Man opens on the still waters of a canal coming to a roil as an undisclosed boat passes by in the waking dawn of the morning. The shot is held for an extended period of time, allowing the atmosphere and meaning to naturally reveal itself. It’s an effective metaphor for the imminent eruption of repressed emotions …

Reviews lucy-scarlett-johansson

Luc Besson’s career post-The Fifth Element has focused primarily on writing and producing – mostly low- or middle-budget action-thrillers, some, of course, for aging actors with diminishing box-office clout – leaving directing duties to one of his many protégés. Besson’s occasional forays into directing, however, have been drab …

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Sequels often by their very definition have the unenviable task of bearing the weight of expectations of their predecessors and also a certain baggage of pre-conceived notions along with it. Innocence, the follow-up to the 1995 animated cyberpunk classic, Ghost in the Shell is less of a direct sequel and closer to a stand-alone film of its’ …

Reviews i origins

I Origins is not smart; it’s contrived in such a way to make you think it is. Mike Cahill, director of Another Earth, comes back with a story about a molecular biologist named Ian (Michael Pitt) studying…

Reviews MASTER-BUILDERHomepageNew

There is a growing trend in stage-to-screen adaptations that seems to trade on the (I would argue) mistaken belief that the way to make a stage-bound production more cinematic is to eliminate, as much as possible, the distance between the audience and the characters. On the stage, this school reasons, the audience is set back, sometimes at …

Special Feature sara-driver (1)

Sara Driver is the crucial, and practically unique, link between the gritty No Wave aesthetic of the 1980s New York underground art scene and the grounded surrealism of Luis Buñuel and David Lynch. Unlike those more masculine cinematic surrealists, who indulge in Freudian impulses and sexual drives to subvert such established …

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