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Rooney, Gleason, and Quinn in the film version Requiem for a Heavyweight was an early live television production that was so popular it garnered a feature-length adaptation a few years later. It’s relatively easy to see the merits in both because although they enlisted the same director and sc read more

As the saying goes, the bigger they are, the harder they fall and Toro is a big man. He’s a sculptable Argentinian bumpkin who will quickly be fashioned into a killer in the boxing ring. Rod Steiger plays Nick Benko, a shifty promoter looking to groom his latest talent and set him up for succ read more

Zone of Interest opens with a blank screen and a collage of sound; it’s almost like it’s priming us for the movie ahead. Because it’s not a conventional movie by any stretch of the imagination. It’s difficult to put arbitrary labels like good and bad on it since it’s so read more

We’ve been doing a rather casual retrospective on the films of George Sanders and as part of the series, we thought it would be fitting to highlight three more of his performances. They run the gamut of literary adaptations, fantasy romances, and medieval yarns. Sanders remains his incorrigib read more

This Land in Mine initiates itself as a memorial to WWI. We see a statue with a crouching soldier. It’s inscribed with the following message: “In memory of those who died to bring peace to the world.” In the foreground as the Nazi juggernaut rolls into town. Because peace has not read more

A place with a name like Okefenokee feels immanently American and this is an inherently American story though expatriate Jean Renoir feels sympathetic to these types of folks. He wasn’t a working-class filmmaker but in movies from his home country like Toni or La Bete Humaine, you see his con read more

I feel like few filmmakers understood the menace of the Nazis as well as Fritz Lang. Perhaps it’s because he had firsthand experience, and he knew their schemes and what they were capable of — at least to a degree. But he does not make them total fools nor distant adversaries. They are read more

Seeing the Twin Towers on celluloid always brings a bit of a wistful reaction because there presence represents so much. It feels like a line in the sand and there are those who know that far better than me. The last time I recall having this sense was watching Peter Bogdanovich’s They All La read more

If you’re a bit of a finicky nerd for cultural context like myself, you realize right when we hear Brenton Wood’s “Oogum Boogum Song” wafting down the city street from a car radio, we can carbon-date the scene to around 1967. A marine steps off a bus with a slight limp. He m read more

Peter Bogdanovich lost his girlfriend Dorothy Stratten to tragedy in 1981 and after the release of their picture together, They All Laughed, it was anyone’s guess if he’d ever be able to return to directing. I’ve heard an often-repeated anecdote that he ultimately decided to take read more

I know only very little about River Phoenix’s upbringing but somehow it’s easy for me to make the leap from his real-life existence to his family in this movie. Running on Empty has to do with an unconventional upbringing. Danny Pope (that’s his real name) has grown up with his li read more

Pump Up The Volume is a movie that tackles the existential malaise of the generation beyond After Hours and Something Wild. I’ve never been particularly good at charting the shifts in generational demographics, but the film is definitely an adolescent jeremiad for Gen Xers. In truth, I only l read more

“Do you think he drinks?” “He didn’t get that nose from playing ping pong.” Self-reflexive metanarratives have the capacity of dissecting celebrity and playing with personas. Such a context is ripe with possibility and so when we find ourselves on a studio lot with W.C read more

When W.C. Fields goes and names his protagonist Egbert Sousé it doesn’t take a brain surgeon to get the joke, although he does spend much of the movie explaining the correct pronunciation. The other half he spends drinking at his favorite bar: The Black Pussy Cat Cafe. His hometown is none ot read more

I was a bit behind on my movie-watching for 2023, but here is a list of a few movies I enjoyed from the past year. I’ve either linked to a previous review or included a short capsule. Enjoy! Past Lives Writer-director Celine Song’s use of time is self-assured and brazen. She’s loose and elasti read more

It’s a Gift is built out of the framework of the domestic lifestyle. This is where it gets its comedy. Take for exhibit A an early sequence. Harold Bissonette (pronounced bis-on-ay) tries to shave with a straight edge despite the interference of his daughter. It leads him to resort to using t read more

“All the women here are named Angela. And all the men are named George.” “Why?” “Why not?” – Jack Okey and Susan Fleming This kind of laissez-faire, anything-goes mentality is one of the obvious strengths of Million Dollar Legs‘ comic tableau. There n read more

Bill Forsyth is a director who has flown under my radar, and yet only after a week’s time and a handful of films, he’s quietly become a new favorite. Now I heartily understand why he’s one of Scotland’s most beloved directors. Part of his appeal is because he wrote and direc read more

On even a cursory level Touch of Evil has all the ready hallmarks of Orson Welles the auteur. Working in tandem with veteran Universal cinematographer Russell Metty (they had collaborated before on The Stranger), they develop the director’s preferred mise en scene from claustrophobic dutch ang read more

Mr. Arkadin (also known as Confidential Report) has the abundance of canted angles and striking visual flourishes one usually attributes to the films of Orson Welles. It also boasts his ever more disorienting sense of space and shot-reverse-shot even as the international cast, financing, and locale read more