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Top 20 of 1996
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest The 90s were generally good years for film, but I was surprised by how tremendous this year was. The resurgence of indie Americans was in full swing; Dogme 95 was in motion (although the Von Trier film on this list isn’t really Dogme); and there was still quite a bit read more
The Palm Beach Story, Preston Sturges, 1942
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest One of the many things I like about Preston Sturges is that he’s all over the place. It is not that he completely defies the Classic Hollywood conventional formula, but that he is not confined to it, and he plays with expectations. Even in the screwball comedy genre, he’s read more
Top 20 of 1996
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest The 90s were generally good years for film, but I was surprised by how tremendous this year was. The resurgence of indie Americans was in full swing; Dogme 95 was in motion (although the Von Trier film on this list isn’t really Dogme); and there was still quite a bit read more
The Palm Beach Story, Preston Sturges, 1942
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest One of the many things I like about Preston Sturges is that he’s all over the place. It is not that he completely defies the Classic Hollywood conventional formula, but that he is not confined to it, and he plays with expectations. Even in the screwball comedy genre, he’s read more
Top 20 of 1996
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest The 90s were generally good years for film, but I was surprised by how tremendous this year was. The resurgence of indie Americans was in full swing; Dogme 95 was in motion (although the Von Trier film on this list isn’t really Dogme); and there was still quite a bit read more
The Palm Beach Story, Preston Sturges, 1942
Criterion Blues Posted by Aaron West on Feb 9, 2015
Feb 9 Posted by aaronwest One of the many things I like about Preston Sturges is that he’s all over the place. It is not that he completely defies the Classic Hollywood conventional formula, but that he is not confined to it, and he plays with expectations. Even in the screwball comedy genre, he’s read more
The Bitter Tears of Petra Von Kant, Rainer Werner Fassbinder, 1972
Criterion Blues Posted by Aaron West on Feb 7, 2015
Feb 7 Posted by aaronwest Like many of Fassbinder’s films, he features strong, female characters in the leads and supporting parts. In this film, the cast is predominately female, and is among the most feminine of his works. That does not mean that it is feminist. One could argue that it has some read more
The Bitter Tears of Petra Von Kant, Rainer Werner Fassbinder, 1972
Criterion Blues Posted by Aaron West on Feb 7, 2015
Feb 7 Posted by aaronwest Like many of Fassbinder’s films, he features strong, female characters in the leads and supporting parts. In this film, the cast is predominately female, and is among the most feminine of his works. That does not mean that it is feminist. One could argue that it has some read more
The Bitter Tears of Petra Von Kant, Rainer Werner Fassbinder, 1972
Criterion Blues Posted by Aaron West on Feb 7, 2015
Feb 7 Posted by aaronwest Like many of Fassbinder’s films, he features strong, female characters in the leads and supporting parts. In this film, the cast is predominately female, and is among the most feminine of his works. That does not mean that it is feminist. One could argue that it has some read more
Odds and Ends
Criterion Blues Posted by Aaron West on Feb 5, 2015
Feb 5 Posted by aaronwest I started this project last year as a creative outlet while I recovered from surgery. I’ve taken to it and am pleased that people are reading my stuff. I thought now would be a good time to take stock and let people know where I’m headed. With the upcoming last read more
Odds and Ends
Criterion Blues Posted by Aaron West on Feb 5, 2015
Feb 5 Posted by aaronwest I started this project last year as a creative outlet while I recovered from surgery. I’ve taken to it and am pleased that people are reading my stuff. I thought now would be a good time to take stock and let people know where I’m headed. With the upcoming last read more
Odds and Ends
Criterion Blues Posted by Aaron West on Feb 5, 2015
Feb 5 Posted by aaronwest I started this project last year as a creative outlet while I recovered from surgery. I’ve taken to it and am pleased that people are reading my stuff. I thought now would be a good time to take stock and let people know where I’m headed. With the upcoming last read more
The Sword of Doom, Kihachi Okamoto, 1966
Criterion Blues Posted by Aaron West on Feb 4, 2015
Feb 4 Posted by aaronwest By 1966, the samurai film had gone from being extraordinary to ordinary. That’s not to say that good samurai films were being made, or would be made in the future, but most of the creative impressions had been made. Japanese film was in the midst of a transformation, such read more
The Sword of Doom, Kihachi Okamoto, 1966
Criterion Blues Posted by Aaron West on Feb 4, 2015
Feb 4 Posted by aaronwest By 1966, the samurai film had gone from being extraordinary to ordinary. That’s not to say that good samurai films were being made, or would be made in the future, but most of the creative impressions had been made. Japanese film was in the midst of a transformation, such read more
The Sword of Doom, Kihachi Okamoto, 1966
Criterion Blues Posted by Aaron West on Feb 4, 2015
Feb 4 Posted by aaronwest By 1966, the samurai film had gone from being extraordinary to ordinary. That’s not to say that good samurai films were being made, or would be made in the future, but most of the creative impressions had been made. Japanese film was in the midst of a transformation, such read more
Les Blank, Always for Pleasure, Part Three.
Criterion Blues Posted by Aaron West on Jan 31, 2015
Jan 31 Posted by aaronwest GARLIC IS AS GOOD AS TEN MOTHERS, LES BLANK, 1980 In my opinion, the best filmmakers are the ones that continually challenge themselves. Too many get comfortable making a variation of the same film repeatedly, with diminishing results. While Les Blank’s early documentari read more
Les Blank, Always for Pleasure, Part Three.
Criterion Blues Posted by Aaron West on Jan 31, 2015
Jan 31 Posted by aaronwest GARLIC IS AS GOOD AS TEN MOTHERS, LES BLANK, 1980 In my opinion, the best filmmakers are the ones that continually challenge themselves. Too many get comfortable making a variation of the same film repeatedly, with diminishing results. While Les Blank’s early documentari read more
Les Blank, Always for Pleasure, Part Three.
Criterion Blues Posted by Aaron West on Jan 31, 2015
Jan 31 Posted by aaronwest GARLIC IS AS GOOD AS TEN MOTHERS, LES BLANK, 1980 In my opinion, the best filmmakers are the ones that continually challenge themselves. Too many get comfortable making a variation of the same film repeatedly, with diminishing results. While Les Blank’s early documentari read more
Criterion: L’Avventura, Michelangelo Antonioni, 1960
Criterion Blues Posted by Aaron West on Jan 28, 2015
Jan 28 Posted by aaronwest My first viewing of L’Avventura was eons ago. It was my first Antonioni, and possibly my first Italian classic film. It is often cited as one of the greatest films ever made, a major turning point in Italian art-cinema, and by extension, world cinema. I remember that my read more
Criterion: L’Avventura, Michelangelo Antonioni, 1960
Criterion Blues Posted by Aaron West on Jan 28, 2015
Jan 28 Posted by aaronwest My first viewing of L’Avventura was eons ago. It was my first Antonioni, and possibly my first Italian classic film. It is often cited as one of the greatest films ever made, a major turning point in Italian art-cinema, and by extension, world cinema. I remember that my read more