Reviews
Perhaps a decent film couldn’t have been made from Jose Saramago’s Blindness. Like any great work of art, Saramago’s novel resists transference.
Silent Light is something unique, if not before unseen, and it should be recognized for what it is, rather than what others wish it to be.
Whereas Hitchcock heightened suspense and audience-character identification by situating hapless, ordinary protagonists within extraordinary situations they seemingly have no control over, the Coens get off on watching their characters purposely enter into grandiose confrontations and violent circumstances
If we could only harness the righteous indignation in and around Hounddog, we could heat our homes for free this winter.
Tarr’s is a heavy, maximalist vision, as ambitiously difficult as it is endlessly generous to the spectator willing to fully enter its embrace.
Udi Aloni's Forgiveness asserts its political ambitions early, with an opening title scroll that tells of a Palestinian village, whose inhabitants were slaughtered by an Israeli militia in 1948.
At one point, Alex drags the others to dinner at an exclusively lesbian restaurant, and I was left wondering, first, if any such places exist in real life (seriously, I don’t think they do), and second, why any of these women were having dinner with each other in the first place.
Basically a hateful litany of bad behavior inelegantly strung together into a moralizing allegory it vapidly posits as quintessentially “American,” Ball’s wretched pageant is precociously vile.
Why go back to the seventeenth century to tell a tale of love? Why lament the Forez plain when there is yet such natural beauty in the world as cinematographer Diane Baratier finds here?
The value of a film like Chris Smith's The Pool becomes more tangible when you begin to imagine what a lesser filmmaker might have wrought from the same material.
