Features
The Masque of the Red Death, Lost Highway, Whistle and I’ll Come to You, Kill List, The Howling, Dr. Jekyll and Mr. Hyde, Fear(s) of the Dark
The Shining turned out to be, paradoxically, Kubrick’s most controlled and most chaotic film, an exquisite structure that finally busts apart, as though with an axe.
Inferno Towering The, Lingo of the Lost, Empire of Evil, The Death of the Gorilla, Señora con flores, Between Gold, Gazette, Sack Barrow, The Unstable Object, Studies for the Decay of the West, Jhana and the Rats of James Olds or 31 days/31 videos
Home entertainment systems are excellent, small-scale approximators of Dolby-equipped movie theaters, but in order to fully appreciate Alien, you really do have to see it on a towering screen and experience the uncanny sensation.
Alexander Sokurov’s Faust, William Friedkin’s Killer Joe, Jafar Panahi’s This Is Not a Film
Nicolas Provost’s The Invader, Steve McQueen’s Shame, Abel Ferrara’s 4:44 Last Day on Earth
Amir Naderi’s Cut, Michael Glawogger’s Whores’ Glory, David Cronenberg’s A Dangerous Method
Cynthia Maughan, Paul McCarthy and William Wegman, Georges Perec and Bernard Queysanne, Glauber Rocha
Joseph L. Mankiewicz’s 1947 The Ghost and Mrs. Muir, Joseph von Sternberg’s 1935 The Devil Is a Woman, Nicholas Ray’s Bigger Than Life, Alberto Cavalanti’sWent the Day Well?, Mervyn Leroy and Busby Berkeley’s Gold Diggers of 1933
Not knowing the film’s importance affected my viewing of Autumn Execution, which came across as a smoothly crass entertainment. It’s a prison drama, romance, and occasional fighting flick—and it would perhaps come across as wild if it didn’t feel so sedentary.
The biggest multiplex theater in Europe resides in Madrid, where I now live: Kinépolis, the crowning achievement of a European franchise of movie theaters based in Belgium.
It wasn’t until I moved to San Jose, California, that I first became aware of the idea of a community of fellow film-lovers. Up to then, movie-watching even in the most packed theaters had struck me as an essentially solitary act; these were secluded moments of thrilling discovery savored but seldom shared.
The slight shiver of excitement I habitually feel when sitting down to watch a new Ken Loach film is amplified on this occasion by a simple coincidence of dates: I am about to view Route Irish at home on my laptop, on the same day that it’s released in cinemas across the UK.
Salut les cubains is neither masterwork nor grand failure; it’s too slight to be either. What it does do, which is valuable, is make visible the blind spots not only in her approach to political filmmaking but by association that of her French New Wave contemporaries.