I'm in a New York state of Cinema

I actually came to the thread to re-open it after reading this piece about a film series Marty Scorsese is curating...

New York icon Martin Scorsese is revealing his go-to films set in the Big Apple. The auteur curated the screening series “Living, Breathing New York” for the Tribeca neighborhood's Roxy Cinema, which features screenings of four of his favorite NYC movies, out of a full list of Scorsese’s twenty-eight favorite New York movies he’s created, and which IndieWire is proud to share below.



“Living, Breathing New York” is curated by Scorsese in celebration of the new release of Olmo Schnabel’s NYC-set thriller, Pet Shop Days, which Scorsese executive produced. The film premieres March 15, 2025 at the Roxy Cinema, and stars Dario Yazbek Bernal and Jack Irv as two lovers whose whirlwind romance sends them down a rabbit hole of drugs and depravity in Manhattan’s underworld. Willem Dafoe (who starred in Olmo Schnabel‘s father Julian Schnabel’s Vincent Van Gogh biopic At Eternity’s Gate), Emmanuelle Seigner, Peter Sarsgaard, Maribel Verdú, and Jordi Mollà also star. This is Olmo Schnabel‘s directorial debut. First-time filmmaker Schnabel‘s Pet Shop Days calls to mind more of Scorsese’s favorite NYC classics, ranging from Benny and Josh Safdie’s Good Time to Sidney Lumet’s Dog Day Afternoon.

“There are so many ‘New York filmmakers’ – everyone has his or her own individual vision,” Scorsese said in a press statement. “I collaborated with the city when I made [my own films like] Mean Streets, Taxi Driver, Raging Bull, The King of Comedy, GoodFellas, Bringing Out the Dead, and The Wolf of Wall Street." Scorsese also added some notes to his picks. According to the director, John Cassavetes’ Shadows was a film that “inspired a generation of aspiring filmmakers, including me.” And Elia Kazan’s On the Waterfront is also listed despite being set in New Jersey. “I know it’s Hoboken, but to me it’s a New York picture,” Scorsese said.

Schnabel, the director of Pet Shop Days, told IndieWire that it is a “great honor” to be included in Scorsese’s list. “I’m a New Yorker — I grew up here. Sharing my film with a New York audience, what could be better than that?” Schnabel said. “It’s a great honor to be included in this group of New York filmmakers selected by Martin Scorsese. When you show your work, people see what you do, and maybe even who you are. I’m looking forward to this and welcoming the experience.”

“Living, Breathing New York” is presented by Utopia and Roxy Cinema. The limited series celebrates the “past, present, and future of New York independent cinema.” For tickets, visit www.roxycinemanewyork.com. The “Living, Breathing New York” program is listed below, along with Scorsese’s selections for twenty-eight of his favorite New York films:

• The Musketeers of Pig Alley (1912, D.W. Griffith)
• Regeneration (1915, Raoul Walsh)
• Kiss of Death (1947, Henry Hathaway)
• A Double Life (1947, George Cukor)
• The Naked City (1948, Jules Dassin)
• Cry of the City (1948, Robert Siodmak)
• Fourteen Hours (1951, Henry Hathaway)
• The Marrying Kind (1952, George Cukor)
• Daybreak Express (1953, D.A. Pennebaker)
• It Should Happen to You (1954, George Cukor)
• On the Waterfront (1954, Elia Kazan)
• The Wrong Man (1956, Alfred Hitchcock)
• Sweet Smell of Success (1957, Alexander Mackendrick)
• Shadows (1958, John Cassavetes)
• Odds Against Tomorrow (1959, Robert Wise)
• The Apartment (1960, Billy Wilder)
• Bye Bye Braverman (1968, Sidney Lumet)
• Midnight Cowboy (1969, John Schlesinger)
• The French Connection (1971, William Friedkin)
• Dog Day Afternoon (1975, Sidney Lumet)
• Marathon Man (1976, John Schlesinger)
• Manhattan (1979, Woody Allen)
• Prince of the City (1981, Sidney Lumet)
• Do the Right Thing (1989, Spike Lee)
• Bad Lieutenant (1992, Abel Ferrara)
• Heaven Knows What (2014, Josh and Benny Safdie)
• Good Time (2017, Josh and Benny Safdie)
• Uncut Gems (2019, Josh and Benny Safdie)

The four revival films screening at the Roxy are Heaven Knows What (2014) March 11 at 9:00pm, March 13 at 9:00pm, and March 16 at 5:00pm, Sweet Smell of Success (1957) March 12 at 7:00pm, Shadows (1958) March 13 at 7:00pm, March 16 at 3:00pm, and March 19 at 7:00pm, and Bringing Out the Dead (1999) March 20 at 7:30pm, March 21 at 5:00pm, March 22 at 10:15pm, and March 26 at 7:00pm.



https://www.indiewire.com/news/gener...es-1235102726/
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I'd have to toss in Annie Hall, as well as a lot of Woody Allen movies, since he never seemed to get out of NYC, even when he WAS somewhere else.

My other all time favorite New York movie is Ghostbusters. Having spent an above average amount of time wandering around the city and riding on the subway, GB hits a lot of locations that make the whole movie seem familiar, down to the exact block. Somehow, the entire plot seems like it could be nowhere else than the Big Apple.

Ghostbusters is my answer as well. More on that later, but I will say, as a child Ghostbusters was the film that introduced me to what New York City was and even to this day, it's the very first film I think of when thinking of New York City cinema. There are others of course, but to me, Ghostbusters was the foundation of New York City cinema.

Aside from that, there's a great collection streaming now on Criterion Channel called "NYC Woos Hollywood, Flirts With Disaster." This series from the Channel focuses on those gritty underbelly dramas, crime films, and procedurals of the late 1960s and early 1970s just as the Hollywood studio system was collapsing.

Cool idea for a thematic collection, as no one does it better than Criterion.

As I type this, I'm just about ready to start Madigan (1968, Don Siegel), a film I have not, to my knowledge, seen before...



https://www.criterionchannel.com/fun...-with-disaster

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I thought of Sweet Smell of Success, then The Warriors, then Trading Places.

Well isn't this a fun coincidence? Without knowing about this thread, I bought this yesterday.

Madigan (1968, Don Siegel)




What starts off as an interesting police procedural about a couple of NYC detectives who have their guns accosted from them in what should have been a fairly "routine" job of bringing in a perp for questioning, quickly turns into a dour and going through the motions police film/drama. There's a lot of great cinematography in this film and some great, what I presume to be, on location shooting of New York City and a grittiness and dirtiness to the film which up until this point was missing from most NYC films, minus maybe The Naked City and a couple of others.

What bogs this film down is that it can't commit to a single idea and there are too many subplots going on. We have an affair between Henry Fonda's character and his mistress which is uninspired and boring, Richard Widmark's character is trying to balance 72 hours between his goal of catching the perp who took his gun and his nagging wife, and then there's a subplot about a black man whose son was picked up as suspect on the charge of rape, only to be found out he had no right to be picked up. Oh yeah, and there's a whole sub-plot about Fonda's commissioner character's colleague who he learns is on "the take" in order to help his son. All these subplots come and go, and in the mean time the film doesn't really focus or narrow down its story to the main point which should be the 72 hours and "ticking time bomb" Widmark's character has to catch the perp who may happen to also be a crazy murderer.

This film is just all over the place and to boot, we spend no time with the bad guy minus the great opening scene and the very end. Just a huge missed opportunity. As such this film is a prototype or a rough draft of what was to become the great gritty police films of the early 1970's like Seigel's own Dirty Harry or also films like The French Connection. Oh well, I guess the sub-genre had to go through growing pains with stuff like Madigan.

GRADE: C

Appalling lack of C.H.U.D. List invalid.