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One of Jean-Luc Godard’s strengths is his capability of feigning pretentiousness, while still simultaneously articulating humor. His film opens with its first of many inter-titles, “A film adrift in the cosmos,” followed by the equally poignant “A film found in a dump.” read more

One of Jean-Luc Godard’s strengths is his capability of feigning pretentiousness, while still simultaneously articulating humor. His film opens with its first of many inter-titles, “A film adrift in the cosmos,” followed by the equally poignant “A film found in a dump.” read more

By today’s standards, it might not look like much, but all conversations of independent filmmaking cannot go anywhere without John Cassavetes and specifically his debut Shadows. It’s hard to get out of our modern perspective with so many different outlets to get films made, but back in read more

By today’s standards, it might not look like much, but all conversations of independent filmmaking cannot go anywhere without John Cassavetes and specifically his debut Shadows. It’s hard to get out of our modern perspective with so many different outlets to get films made, but back in read more

Branded to Kill is the stuff of legend inasmuch as director Seijun Suzuki offered up this wonderfully wacky, perverse, dynamic film and was subsequently dumped by his studio.  At Nikkatsu they accused Suzuki of crafting an oeuvre that made “no sense and no money.” And if we watch it with read more

Branded to Kill is the stuff of legend inasmuch as director Seijun Suzuki offered up this wonderfully wacky, perverse, dynamic film and was subsequently dumped by his studio.  At Nikkatsu they accused Suzuki of crafting an oeuvre that made “no sense and no money.” And if we watch it with read more

This Canadian-American production written by Nancy Oliver undoubtedly frightens the more suppressed of us in the audience (mainly me) with its main hook, a man who begins a relationship with a female sex doll, but just like his entire town, most of us leave this film with a very different perspecti read more

This Canadian-American production, written by Nancy Oliver, undoubtedly frightens the more suppressed of us in the audience (mainly me) with its main hook, a man who begins a relationship with a female sex doll, but just like his entire town, most of us leave this film with a very different perspec read more

Michele Morgan (1920-): A French beauty and leading lady for numerous decades known for integral roles in films in her native France and across the globe. Her filmography includes Michel Carne’s revered classic with Jean Gabin Port of Shadows as well as Carol Reed’s adroit drama Fallen read more

Michele Morgan (1920-): A French beauty and leading lady for numerous decades known for integral roles in films in her native France and across the globe. Her filmography includes Michel Carne’s revered classic with Jean Gabin Port of Shadows as well as Carol Reed’s adroit drama Fallen read more

Where to start with Liberal Arts? It’s one of those deep blue funk movies . Zach Braff tackled this issue in The Garden State, and Josh Radnor does a similar thing here. Because the reality is that we live in a generation of early onset midlife crises. In the opening moments, 35-year-old Jesse read more

Where to start with Liberal Arts? It’s one of those deep blue funk movies. Zach Braff tackled this issue in Garden State, and Josh Radnor does a similar thing here. Because the reality is that we live in a generation of early onset midlife crises. In the opening moments, 35-year-old Jesse Fish read more

Inspired directors oftentimes do not make themselves known in grandiose flourishes but in the smallest of touches, and in his debut, Polish newcomer Roman Polanski does something interesting with the opening of Knife in the Water. Perhaps it’s not that unusual, but it’s also hard to reme read more

Inspired directors oftentimes do not make themselves known in grandiose flourishes but in the smallest of touches, and in his debut, Polish newcomer Roman Polanski does something interesting with the opening of Knife in the Water. Perhaps it’s not that unusual, but it’s also hard to reme read more

It’s only 40 minutes — hardly a feature film and more of a featurette, but Jean Renoir’s truncated work, A Day in the Country, is nonetheless still worth the time. Admittedly, I still have yet to venture to France and I hope to do that someday soon, but this film propagates marvelo read more

It’s only 40 minutes — hardly a feature film and more of a featurette, but Jean Renoir’s truncated work, A Day in the Country, is nonetheless still worth the time. Admittedly, I still have yet to venture to France and I hope to do that someday soon, but this film propagates marvelo read more

“He spat on Balzac!” Jean Renoir always had a preoccupation with class divides and Boudu showcases that same blatant juxtaposition of class, or more precisely, the lifestyles of the middle class versus a lowly tramp. Except in this specific instance, the tramp (the indelible Michel Simon read more

“He spat on Balzac!” Jean Renoir always had a preoccupation with class divides and Boudu showcases that same blatant juxtaposition of class, or more precisely, the lifestyles of the middle class versus a lowly tramp. Except in this specific instance, the tramp (the indelible Michel Simon read more

Two hallmarks of the political film genre are Mr. Smith Goes to Washington and All the President’s Men. The latter starred The Candidates’s lead Robert Redford. However, in this case, the candidate, Billy McKay, is perhaps a more tempered version of Jefferson Smith. He’s a young la read more

Two hallmarks of the political film genre are Mr. Smith Goes to Washington and All the President’s Men. The latter starred The Candidate’s lead, Robert Redford. However, in this case, the candidate, Billy McKay, is perhaps a more tempered version of Jefferson Smith. He’s a young la read more