4 items from 2017
I’ve always been mystified by the relative lack of attention and acclaim Orson Welles’ 1946 thriller The Stranger has received compared with the director’s better known efforts, since on just about every level it’s top-tier Welles. Perhaps Welles’ own denigration of the picture, which he saw as an impersonal assignment designed to restore his box-office credibility after The Magnificent Ambersons, is to blame. It’s a genre film, sure, but then so is Touch of Evil, which many Welles enthusiasts (myself included) consider to be every bit as important in the director’s oeuvre as Citizen Kane. The Stranger is actually a […] »
- Jim Hemphill
Edward G. Robinson uncovers another killer, but this time he’s after a Nazi mass murderer, not an insurance salesman. Orson Welles’ most conventional thriller is a masterpiece of style and judgment, with a good sense of time and place – and a lot of expressive shadows. How does this new Blu-ray shape up in comparison to earlier presentations?
1946 / B&W / 1:37 Academy / 95 min. / Street Date August 29, 2017 / available through the Olive Films website / 29.98
Cinematography: Russell Metty
Production Design: Perry Ferguson
Art Direction: Albert S. D’Agostino
Film Editor: Ernest Nims
Original Music: Bronislau Kaper
Produced by Sam Spiegel
Directed by Orson Welles
- Glenn Erickson
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
Film Society of Lincoln Center
“Il Bello Marcello” highlights Italy’s greatest actor and, in turn, its greatest filmmakers.
Stalker continues its run.
Museum of the Moving Image
The Caan Film Festival is underway! Films from Michael Mann, Coppola, Hawks, and more kick it off.
The Cabinet of Dr. Caligari plays on Sunday.
- Nick Newman
Jason Isaacs as Dr. Volmer in A Cure for WellnessIt starts with a whispered melody. It will send frissons of familiarity, of a kind of upsetting longing for clarity. You know that song the odd English girl is singing, but you can't place it. Neither can Lockhart (Dane DeHaan, who they might have called Lockjaw, as he can barely seem to spit his words out), which is what draws him into the guts of a mystery. And it draws the film into a slithering spiral, compels us to observe an autopsy of modern horror. What half-remembered giallo fugue is Gore Verbinski spooning up for us like medicine, pinioned to our chairs like one of the zombie patients in the film’s sinister clinic? A puzzle picture, a conspiracy thriller, a kind of baroque classical nightmare, A Cure For Wellness is too sturdy, busy and sure of itself to be much of a horror film. »
4 items from 2017
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