The Lodger is an exemplary showcase for what would soon define the cinema of its celebrated director.
It took a man like Sam Peckinpah to make a film like Straw Dogs.
The giallo didn’t begin with The Bird with the Crystal Plumage, but Dario Argento’s 1970 debut did give the idiosyncratic genre an invigorating shot in the arm.
It has all the trappings of film noir, but make no mistake, They Live by Night, Nicholas Ray’s 1948 debut, is a love story at heart.
This collection is not just an assembly of great cinema; it is a compendium of cultural artifacts, celluloid expressions from diverse societies.
An eclectic grouping of formally fascinating, wholly distinct films, just as vital for their aesthetic distinction as they are for their ethnographic revelations.
From the opening clash to the final embrace, this Golden Age rarity offers up one delightful surprise after another.
While Good Morning is noticeably on the lighter side of things as far as Ozu is concerned, it packs an expressively perceptive punch.
Jeanne Dielman has rightfully secured its place as an extraordinary achievement subjected to a justly deserved salvo of critical scrutiny.
Perhaps not as engaging as Sternberg’s best work, Anatahan is a sublime example of the director’s pictorial elegance and his corresponding penchant for poetic storytelling.
The World’s Most Beautiful Swindlers is a compelling chronicle with enough variance to make each segment distinct, yet unified by a confidence connection.
Broken Arrow is one of the most exceptional Westerns of the period, a sure sign of the genre’s evolving self-awareness and its historical conscious.