Bring Me the Head of Alfredo Garcia   2/23/18
by mark f
Things I dislike about it are: I think half of the film shouldn't even be in the film (scenes which go on and on which should have been blue-penciled); Peckinpah's trademark slo-mo balletic violence just doesn't work here; the two motorcyclists!!!; the ease with which our hero (and I consider him a hero) accomplishes things; technical flubs (now, I could be wrong, but it seemed clear to me that their tire blew out when the truck almost ran head-on into them, but no problem in the story concerning the tire; then a half-hour later, they have to fix a flat tire from out of nowhere); all the other hitmen/"entrepreneurs"/well, damn everybody but Bennie and Elita, were stick figures.

Last Year at Marienbad   1/28/18
by mark f
Last Year at Marienbad is certainly 99% devoid of passion, so even if you don't want to interpret it as a horror film, a ghost story or even a vampire film (there are some interesting visuals involving the sun and the night at the same time and a neat strip of overdeveloped film during a long track down a hallway), it may be a film which you find difficult to warm up to.

Muriel, or the Time of Return   1/28/18
by mark f
Muriel was Resnais' third film (after Hiroshima, mon amour and Last Year at Marienbad) in a trilogy which highlighted rememberances of the past, and in some ways, although it's the fuzziest in its specifics, it seems the clearest in its intentions.

Mon oncle d'Amérique   1/28/18
by mark f
Resnais teamed up with scripter Jean Gruault (The Wild Child) and scientific author Henri Laborit to create one of his most open, inviting films with this, even though it's obviously a Resnais film and will ask its viewers to work to get the maximum pleasure from this film.

Private Fears in Public Places   1/28/18
by mark f
As far as Resnais' style is concerned, this film is far different than his earlier films in that he basically tells the story straightforwardly.

The War Is Over   1/28/18
by mark f
His films undoubtedly reflect the politics of the underdog, and more often than not, they also reflect a leftist leaning, but he already said that he's not an auteur, so maybe Spanish scripter Jorge Semprn (Z, Special Section) is truly responsible (don't count on it!) for the message of this film.

Persona   1/26/18
by mark f
No VCRs, no DVDs, etc.) I now realize that my classmates had no more concept of what the film may be about than I did or even do now, although I truly believe I can find many more complex meanings for what happens in the film.

The Treasure of the Sierra Madre   1/17/18
by mark f
I watched Sierra Madre many times as a teen and it's probably the one movie which made me such a humongous Bogie and John Huston fan.

The Trouble with Harry   1/03/18
by mark f
This is not only the first Hitchcock film with a Bernard Herrmann score, but it's also MacLaine's film debut and an early flick for the boy (Jerry Mathers, the Beave from "Leave it to Beaver") who plays her son and steals all his scenes.

Faust   1/02/18
by mark f
The second half of the film which tells how Faust falls a bit short in his purity is entertaining but not as mesmerizing as the earlier scenes.

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