Funny Games   10/15/20
by Captain Spaulding
Another negative consequence of the obnoxious fourth-wall breaking is summarized in the following excerpt from Bilge Ebiri's excellent film essay on the Criterion website: If we eventually see them [the family] only as objects, or as pawns, then Haneke will simply have achieved the very thing hes trying to demolisha movie that denies the complexity and value of human life.

Amadeus   8/07/20
by Captain Spaulding
I know nothing of the real-life Salieri, but Antonio Salieri, movie character, is a talented composer with a prestigious role within the Emperor's palace.

Naked   7/29/20
by Captain Spaulding
Sexual liaisons with Johnny quickly turn rough, as he seeks to mentally and physically dominate his partners, but his sexual encounters throughout the rest of the film are consensual.

Hud   7/17/20
by Captain Spaulding
Within the first few scenes -- a bar owner sweeping broken glass ("Hud was in here last night."), Hud nonchalantly exiting the house of another man's wife and allowing his nephew to take the blame when the husband demands an explanation, Hud recklessly destroying the housekeeper's azaleas with his shoddy parking -- we know all we need to about Hud's character.

The Thin Blue Line   7/06/20
by Captain Spaulding
Re-enactments are commonplace nowadays, but apparently their usage was groundbreaking in 1988 -- and controversial, as well, since the Academy refused the film a nomination because they felt such artistic techniques had no place in documentaries.

The Taking of Pelham One Two Three   6/29/20
by Captain Spaulding
It's been said that the film ends with the most famous sneeze in movie history.

Deep Red   6/27/20
by Captain Spaulding
Just give me the the eerie opening that juxtaposes Christmas and innocent lullabies with sharp knives and silhouetted stabbings; the psychic's murder that sees her leak copious amounts of red paint; the boiling face; the random, creepy automaton doll; the brilliant necklace beheading; the disturbing paintings; throw in a few of Argento's most striking compositions (to alleviate my boredom, I kept telling myself to focus on the beautiful aesthetics, since Argento is a hell of a stylist, but eventually I'd grow restless and start glancing at the clock again); punctuate it all with Goblin's anachronistic soundtrack that is half jazz, half prog rock, and which is likely the film's biggest strength, despite the music often seeming at odds with what's transpiring on screen.

The Last Laugh   6/21/20
by Captain Spaulding
Unlike other Murnau films I've seen, The Last Laugh is devoid of sensationalism.

Yellow Sky   5/28/20
by Captain Spaulding
Despite coming out of the gates hot, the film unravels as it goes along, eventually limping to the closing credits.

Lust in the Dust   5/07/20
by Captain Spaulding
Their enormous energy propels the film, providing enough entertainment to compensate for the weak script.

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