Monday, October 24, 2016

Kiss Me Deadly (Robert Aldrich, 1955)

The alternative ending gives the film a nifty and unexpected switch of tone and genre, while the original, though less extreme, paradoxically ends up being more overblown and rather disappointing.

I, Daniel Blake (Ken Loach, 2016)

Magnificently combines all the subtlety of a sledgehammer with a remarkable delicacy of touch.

Quay (Christopher Nolan, 2015)

I genuinely think this is Nolan's best film to date.

Sunday, October 23, 2016

Wednesday, October 19, 2016

Film Socialisme (Jean-Luc Godard, 2010)

The many fulminations about total opacity that greeted its release seem curious - partly because the themes, at least, are entirely clear - but also because the rhythms are so firmly handled.

Tuesday, October 18, 2016

Trois vies et une seule mort (Raúl Ruiz, 1996)

A rather Buñuelian riff on the idea of "former" or "other" lives (as in, "I used to do that in another life"), with a beautiful balance of the (apparently) explicable and the (seemingly) inexplicable.

Irma Vep (Olivier Assayas, 1996)

Full of many beautiful and even extraordinary things, but a film about the tendency of French films to be about French films ends up (deliberately?) as just one more French film about French films...

Monday, October 17, 2016

These Three (William Wyler, 1936)

Very fine, even though not as wholly successful as Wyler's own remake twenty-five years later.

Tony Conrad: Completely in the Present (Tyler Hubby, 2016)

Unpretentious, extremely informative, but the man himself comes right on through with tremendous power.

American Honey (Andrea Arnold, 2016)

Full of life, but perhaps just a little too long and a little too beautiful throughout...

Sunday, October 16, 2016

Swiss Army Man (Daniels, 2016)

It's sweetness is actually sentimental, and it's fifteen minutes too long, but if there were more films like this we'd all be better off.

Saturday, October 15, 2016