Monsieur Verdoux
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4 items from 2016

Face to Face (Faccia a faccia; Von Angesicht zu Angesicht)

4 October 2016 1:50 PM, PDT | Trailers from Hell | See recent Trailers from Hell news »

Writer-director Sergio Sollima gives us one of the best 'political' Italo westerns from the pre- May '68 era... with two top stars in great form, Gian Maria Volontè and Tomas Milian. This two-disc German import has both the long and short versions of the movie in HD, with full language options for each. Face to Face (Faccia a faccia; Von Angesicht zu Angesicht) Region A+B Blu-ray Explosive Media (Alive) 1967 / Color / 2:35 widescreen / 93, 112 min. / Street Date April 29, 2016 / available at / E 21,93 Starring Gian Maria Volontè, Tomas Milian, William Berger, Jolanda Modio, Gianni Rizzo, Carole André Ángel del Pozo, Aldo Sambrell, Antonio Casas, Lidia Alfonsi, John Karlsen, Gastone Moschin, G&eacutge;rard Tichy. Cinematography Raphael Pacheco Film Editor Eugenio Alabiso Original Music Ennio Morricone Art Direction and sets Carlo Simi Written by Sergio Donati, Sergio Sollima Produced by Arturo González, Alberto Grimaldi <Directed by Sergio Sollima

Reviewed by Glenn Erickson

Wow, »

- Glenn Erickson

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A Look Inside Metrograph, New York City’s New Independent Theater

2 March 2016 1:14 PM, PST | The Film Stage | See recent The Film Stage news »

Let’s start with this obvious point: few cities need another repertory outlet less than New York City, which provides enough decent-to-outstanding options every week (or day) to fully occupy any caring customer. And so when a new theater, Metrograph, was announced this past August, the largely enthusiastic response — people taking note of a good location, a dedication to celluloid presentations and new independent releases, its strong selection of programmers, and other services (e.g. a restaurant and “cinema-dedicated bookshop”) — went hand-in-hand with some people’s skepticism, or at least a certain raising of the eyebrows. The question of necessity was premature, but such is the influx of available material that it should inevitably come up.

It’s safe to say their first selections silenced those skeptics. Metrograph’s slate is strong in a way that’s uncommon; one could say it’s exactly the sort that a cinephile with »

- Nick Newman

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Top 10 Oscar Surprises

24 February 2016 11:21 AM, PST | Thompson on Hollywood | See recent Thompson on Hollywood news »

Here are 10 Oscar moments that left us gobsmacked. Which winners, speeches, performances, fashions, and gaffes surprised you the most? Let us know in the comments below. 10. Charlie Chaplin Receives 12-Minute Standing Ovation (1972) It may not be surprising, exactly — after all, he earned it with "The Gold Rush," "City Lights," "Modern Times," and "The Great Dictator," among others — but the sheer length of the ovation Chaplin upon receiving an honorary Oscar in 1972 left the filmmaker himself nearly speechless. (Though he'd received a special award for "The Circus" in 1929, his remarkable career had, to that point, netted but three competitive nominations — two for "The Great Dictator" and one for "Monsieur Verdoux" — and no wins.) As perhaps the greatest of the silent cinema's actors and directors understood, there are times when "words seem so futile, so feeble," and this was surely one. 9. Roberto »

- Matt Brennan

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Jacques Rivette’s 10 Favorite Films

2 February 2016 11:12 AM, PST | The Film Stage | See recent The Film Stage news »

If one wishes to highlight what made Jacques Rivette a significant figure in the cinematic landscape, it’s key that they cite his cinephilia — the rabid sort that is uncommon in even our smartest voices, filmmaking or otherwise. More than one who saw a bunch of movies, though, the late, great director maintained a critical fashioned at Cahiers into our contemporary day, sharing a wide, sometimes unexpected range of thoughts on what made works of all kinds stand tall or fall apart.

All of which is to say that his list of favorite films should come from a wellspring of knowledge and passion. In any case, his selection, shared by critic Samuel Wigley — rather a selection, being that it’s from the 1962 Sight & Sound ballot — is a fine one for spanning from the form’s earlier days to its then-contemporary masters, and perhaps as an immediate window into the Cahiers critical mindset. »

- Nick Newman

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