1-20 of 34 items from 2015 « Prev | Next »
Robert Enrico's literally searing terror tale from the French occupation is not for the faint of heart. Fearing reprisals, surgeon Philippe Noiret sends his wife Romy Schneider out of harm's way of the retreating Germans -- but things go horribly wrong. What follows is an ordeal of vengeance even more brutal than Straw Dogs, fought to the finish in a medieval castle. The Old Gun MGM Limited Edition Collection DVD-r 1975 / Color / 1:78 enhanced widescreen / 102 87 min. / Le vieux fusil / Street Date September 8, 2015 / available through Screen Archives Entertainment / 19.95 Starring Philippe Noiret, Romy Schneider, Jean Bouise, Joachim Hansen, Robert Hoffmann, Karl Michael Vogler, Madeleine Ozeray, Caroline Bonhomme, Catherine Delaporte, Daniel Breton, Jean-Paul Cisife, Antoine Saint-John. Cinematography Étienne Becker Film Editor Ava Zora Original Music François de Roubaix Written by Robert Enrico, Pascal Jardin, Claude Veillot Produced by Pierre Caro Directed by Robert Enrico
Reviewed by Glenn Erickson
Some of us can remember »
- Glenn Erickson
By Lee Pfeiffer
The good news is that Timeless Video is releasing multiple films in one DVD package. The bad news is that one of these releases, although featuring two highly-watchable leading men, presents two stinkers. Love and Bullets is a 1979 Charles Bronson starrer that Roger Ebert appropriately described at the time as "an assemblyline potboiler". The film initially showed promise. Originally titled Love and Bullets, Charlie, the movie had John Huston as its director. However, Huston left after "creative differences" about the concept of the story and its execution on screen. The absurdity of losing a director as esteemed as Huston might have been understandable if the resulting flick wasn't such a mess. However, one suspects that, whatever the conceptual vision Huston had for the movie may have been, it must have been superior to what ultimately emerged. Stuart Rosenberg, the competent director of Cool Hand Luke took over »
- firstname.lastname@example.org (Cinema Retro)
“This 1966 western… has the expertise of a cold old whore with practiced hands and no thoughts of love. There’s something to be said for this kind of professionalism; the moviemakers know their business and they work us over. We’re not always in the mood for love or for art, and this movie makes no demands, raises no questions, doesn’t confuse the emotions. Even the absence of visual beauty or of beauty of language or concept can be something of a relief. The buyer gets exactly what he expects and wants and pays for: manipulation for excitement. We use the movie and the movie uses us.”
I’m not speaking from direct experience here, you understand, but I would imagine that old whores, cold or otherwise, could be pretty entertaining, not only in their professional »
- Dennis Cozzalio
By John M. Whalen
When the “hardware widow” (Allyn Ann McClerie) asks Monte Walsh (Lee Marvin) if he’d gotten used to the idea of his long-time partner Chet Rollins (Jack Palance) and her being married, Monte says: “I never had so many things to get used to in my whole life, as now.” That line of dialogue in the middle of William Fraker’s “Monte Walsh” (1970) pretty much sums up this first and best film adaptation of Jack Schaeffer’s novel about the end of the Old West in general and the cowboy life in particular. It’s a true classic and even though it features two of the toughest tough guy actors of the sixties and seventies, it’s not a melodramatic shoot-em-up, full of violence, sound and fury. Rather it’s an elegiac portrait of the way it must have really happened, presented in a style as »
- email@example.com (Cinema Retro)
Viewers expecting to see a lighthearted 'Cisco Kid' swashbuckler got a surprise with William Wellman's movie: it's a tragedy about a genuine historical California bandit who may have been an outlaw terrorist, avenging murderous discrimination against Mexican-Americans in the Gold Rush days. Hangings, rape and massacres -- not your average popcorn matinee fare for 1936. The Robin Hood of El Dorado DVD-r The Warner Archive Collection 1936 / B&W / 1:37 flat Academy / 85 min. / Street Date May 26, 2015 / available through the WBshop / 18.49 Starring Warner Baxter, Ann Loring, Bruce Cabot, Margo, J. Carrol Naish, Soledad Jimenez, Carlos De Valdez, Eric Linden, Edgar Kennedy, Charles Trowbridge, Harvey Stephens, Marc Lawrence. Cinematography Chester Lyons Film Editor Robert J. Kern Original Music Herbert Stothart Written by William A. Wellman, Joseph Calleia, Melvin Levy, from a book by Walter Noble Burns Produced by John W. Considine Jr. Directed by William A. Wellman
Reviewed by Glenn Erickson
I'm always »
- Glenn Erickson
Below you will find our favorite films of the 68th Locarno Film Festival, as well as an index of our coverage.Daniel Kasmantop Picksi. L’Accademia delle Muse, CosmosII. Thithi, Happy Hour, Right Now, Wrong ThenIII. Deux Rémi, deux, 88:88COVERAGEDay 1: James White (Josh Mond), Invasion of the Body Snatchers (Don Siegel)Day 2: Infinitas (Marlen Khutsiev), I Am Twenty (Marlen Khutsiev), The Ballad of Cable Hogue (Sam Peckinpah)Day 3: Cosmos (Andrzej Żuławski), The Wild Bunch (Sam Peckinpah)Day 4: Thithi (Raam Reddy), Te prometo anarquía (Julio Hernández Cordón), Chant d'hiver (Otar Iosseliani), July Rain (Marlen Khutsiev), Year of the Dragon (Michael Cimino)Day 5: L’Accademia delle Muse (José Luis Guerín), Les idoles (Marc'o), Pat Garrett and Billy the Kid (Sam Peckinpah), The Killer Elite (Sam Peckinpah)Day 6: Good Morning, Night (Marco Bellocchio), No Home Movie (Chantal Akerman), Epilogue (Marlen Khutsiev)Day 7: Chevalier (Athina Rachel Tsangari »
Spanish director José Luis Guerín is best known in the States for his pseudo-fictional love letter to women-watching In the City of Sylvia, but in fact is a prolific documentary filmmaker and has brought with him to Locarno the lovely and elegant pseudo-documentary L’Accademia delle Muse. Playful and clever as ever, Guerín has collaborated with Professor Raffaele Pinto and several actresses, perhaps students, to stage a false course in philology. The class, populated almost entirely by women, discusses the nature, influence and meaning of muses in poetry, and what starts as seemingly a documentary on this classroom, its teacher and a few select students, subtly evolves into a drama of words and unseen actions.The issues at stake as discourse in the class—what desire means, if it has to be sexual, the difference between a woman and a muse, how a lover influences the beloved and vice versa »
- Daniel Kasman
Above: Jerzy Flisak’s 1972 poster for The Ballad of Cable Hogue (Sam Peckinpah, USA, 1970)To coincide with the complete retrospective of the films of Sam Peckinpah currently running at the Locarno Film Festival, I thought I might try to select the best posters of one of my favorite directors. But when I looked at all the posters for Peckinpah’s films it was clear that the best Peckinpah posters were made in Poland. There are a couple of great American one sheets from the 1970s—those stark black and white photographs for Straw Dogs and The Getaway—but nothing quite matches these six Polish designs for visual panache. Jerzy Flisak’s typically witty and playful poster for the most light-hearted of Peckinpah Westerns, The Ballad of Cable Hogue, is one of Flisak’s greatest designs and one that beautifully encapsulates the story of an old prospector exploiting a well in the Arizona desert. »
- Adrian Curry
"It will be difficult to continue this story of mine. I don't even know if it is a story. It is difficult to call this a story, this constant....clustering and falling apart...of elements..." —Witold Gombrowicz's CosmosIf I weren't already soaked to the bone from the sweltering heat that has accompanied the Locarno Film Festival this year, Andrzej Żuławski's first movie in fifteen years was bound to get me feverish. One of the few true visionary risk-takers of cinema has yet again found a subject fitting for his boundless energy, Witold Gombrowicz's mental madcap 1965 novel Cosmos. For those familiar with Żuławski's films like Possession, On the Silver Globe and L'amour braque, it may come as a surprise that the assaultive quality of the novel's streaming consciousness–poring over a young man's vacation in a small town boarding house, where he seems to discover conspiracies of small crimes »
- Daniel Kasman
My second day in Locarno I've shamefacedly dedicated to what some of the critics here call "the old movies." To be honest, while I am very much thrilled to be one of the first people to see new films by my favorite filmmakers as well as be surprised ones by those I don't know, almost every one of these films, most shot digitally and certainly projected digitally here in Locarno, I will be able to catch again somehow, whether in the "digital library" at the festival itself, through a link from a filmmaker/producer/publicist/friend, or at the next festival stop they make. The 35mm films in Locarno are obviously therefore a much more rarified commodity and experience, something David Bordwell testified to in his report from the nearly all film (and certainly all "old movies") festival in Bologna in June: namely, the increasing popularity of festivals which cater to these now-unique celluloid experiences, »
- Daniel Kasman
Post-production tampering mitigates against this Western by Sam Peckinpah finding its deserved reception from better-class audiences. Shortened release version is vague, confusing, and is being sold as routine action entry in saturation breaks where it should perform routinely, no more. Kris Kristofferson and acting debut of Bob Dylan provide youth lures. Rating: R.
“It feels like times have changed,” says Pat Garrett. “Times, maybe—not me," says Billy the Kid. A classical Sam Peckinpah exchange, reflecting one of the numerous obsessive themes that run through his latest Western. But times certainly haven’t changed for Peckinpah—for, despite the overdue success of his last venture, The Getaway, the embattled and iconoclastic director who revolutionized the Western with The Wild Bunch »
- Joe Dante
Despite it being the directorial debut of five times Oscar nominated cinematographer William A. Fraker, 1970’s revisionist Western Monte Walsh isn’t as well remembered as it possibly should be. Prizing characterization over narrative and ignoring the usual set of genre highlights until its third act, it’s a mellow, melancholy bit of nostalgia about the last days of the Old West. Sporting a handsome cast and imbued with the right touch of technical appropriations, it’s a rather humble offering following on the footsteps of iconic juggernauts of the genre, like True Grit or The Wild Bunch, both of which premiered the year prior. Awards glory and controversial depictions of violence launched those films into the zeitgeist, but Fraker’s has remained an obscure item rooted in realistic, low key tendencies.
- Nicholas Bell
This article by Fernando Ganzo is an excerpt from Capricci's monograph Sam Peckinpah, edited by Ganzo, which accompanies this year's retrospective at the Locarno Film Festival.Warren Oates in Bring Me the Head of Alfredo Garcia. © Park Circus / MGM“Don’t ever ruin your career as a loser with a shitty success.”—Jorge OteizaThere is only one thing that can be said about a person as erratic, contradictory, mythomaniac, complex and profound as Sam Peckinpah: here is a director who was made in the image of his characters, those men who belong to a different era, born too late, in a world that opposed all freedom and eccentricity. We like to describe Peckinpah as one of the fathers of New Hollywood, of the baroque aesthetic of the 1970s, as someone who had a primordial and often regrettable influence on that particular style. This is not completely false. However, this »
BBC Culture has this week unveiled a new list of the top 100 American films, as voted for by a pool of international film critics from across the globe. The format of the poll was that any film that would make the list had to have recieved funding from a Us source, and the directors of the films did not need to be from the USA, nor did the films voted for need to be filmed in the Us.
Critics were asked to submit their top 10 lists, which would try to find the top 100 American films that while “not necessarily the most important, but the greatest on an emotional level”. The list, as you may have guessed, is very different to the lists curated by say the BFI or AFI over the years, so there are certainly a few surprises on here, with Steve McQueen’s 12 Years A Slave (2013), Terrence Malick »
- Scott J. Davis
First off, let's make one thing clear. We're not scratching our heads at Spike Lee's "Do The Right Thing" making the BBC's 100 greatest American films. That movie, of which an image accompanies this post, not only made the list, but ranked appropriately at no. 25. It's the rest of the selections that have us scratching and, yes, shaking our heads in disbelief. A wonderful page view driver, these sorts of lists make great fodder for passionate movie fans no matter what their age or part of the world they hail from. There is nothing more entertaining than watching two critics from opposite ends of the globe try to debate whether "The Dark Knight" should have been nominated for best picture or make a list like this. Even in this age of short form content where Vines, Shapchats and Instagram videos have captured viewers attention, movies will continue to inspire because »
- Gregory Ellwood
Leave it to the Brits to compile a list of the best American films of all-time. BBC Culture has published a list of what it calls "The 100 Greatest American Films", as selected by 62 international film critics in order to "get a global perspective on American film." As BBC Culture notes, the critics polled represent a combination of broadcasters, book authors and reviewers at various newspapers and magazines across the world. As for what makes an American filmc "Any movie that received funding from a U.S. source," BBC Culture's publication states, which is to say the terminology was quite loose, but the list contains a majority of the staples you'd expect to see. Citizen Kane -- what elsec -- comes in at #1, and in typical fashion The Godfather follows at #2. Vertigo, which in 2012 topped Sight & Sound's list of the greatest films of all-time, comes in at #3 on BBC Culture's list. »
- Jordan Benesh
Every now and then a major publication or news organisation comes up with a top fifty or one hundred films of all time list - a list which always stirs up debate, discussion and often interesting arguments about the justifications of the list's inclusions, ordering and notable exclusions.
Today it's the turn of BBC Culture who consulted sixty-two international film critics including print reviews, bloggers, broadcasters and film academics to come up with what they consider the one-hundred greatest American films of all time. To qualify, the film had to be made by a U.S. studio or mostly funded by American money.
Usually when a list of this type is done it is by institutes or publications within the United States asking American critics their favourites. This time it's non-American critics born outside the culture what they think are the best representations of that culture. Specifically they were asked »
- Garth Franklin
Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder, »
In the Midwest, we are aware of the illegal immigrant issues. We see it and live among it and have out own opinions about it, whatever they may be. But truly, we are far removed from the drug wars that occur at the Us/Mexico borders. We, like any sizable city, see the drug abuse and the lives it tears apart, but that’s the end of the line. Where it starts, where the buck stops (so to speak) is where cultures and countries collide. That’s why films such as Cartel Land are crucial to the rest of us not living in the middle of the source of the problem.
Produced, directed, shot and edited and may other credits go to a nearly virtual one-man filmmaking team. Matthew Heineman tossed himself into the heart of darkness to capture a sample of the essence of organized crime in Mexico and it pays off, »
- Travis Keune
Sound on Sight undertook a massive project, compiling ranked lists of the most influential, unforgettable, and exciting action scenes in all of cinema. There were hundreds of nominees spread across ten different categories and a multi-week voting process from 11 of our writers. The results: 100 essential set pieces, sequences, and scenes from blockbusters to cult classics to arthouse obscurities.
Shootouts, unlike any other type of action scenes, put death in the forefront of the audience’s mind. Whereas a car chase draws the attention onto the race, or a fight scene onto the pursuit of victory, shootouts test the mortality of our protagonists and anti-heroes. It’s more than just a hail of bullets that matters on screen, it’s who those bullets are clipping down or propping up. Legends can be made in a flurry of lead. The last man standing after the fray isn’t always the best or »
- Shane Ramirez
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