Tag Archives: John Boorman

394. Amarcord

Like many Fellini films, Amarcord is a contradiction; an account of his youth yet a complete fabrication, a vivid realisation of the past, but also a dream.

366. Come and See

Widely regarded as the greatest war picture ever made, Elem Klimov’s Come and See takes its title from The Book of Revelations to deliver a vision of hell.

352. Roma

Alfonso Cuarón has long flirted with the neorealist style. His latest masterpiece, Roma illustrates cinema is not about what you show, but how you show it.

330. Aguirre, the Wrath of God

Werner Herzog’s hallucinatory telling of a Conquistador’s search for El Dorado etches a landscape of greed on the human face.

317. The Cook the Thief his Wife & her Lover

First seen as a critique of Thatcherism, this now lives in the era of MeToo and Time’s Up.

275. Deliverance

When we think of American cinema in the seventies, all too often we all too quickly think of the great directors. But what of the cinematograph-auteurs?

169. Withnail and I

When a filmmaker enters the realm of autobiography, the result is all too often soaked in nostalgia. Bruce Robinson’s Withnail & I is fermented in fine wine.

167. Sexy Beast

Jonathan Glazer’s film is one of the most assured debuts in cinema history. But the film has another entrance that also stands with the best of them.

151. Drive

Nicolas Winding Refn’s film focuses on Ryan Gosling’s nameless getaway driver. But its best scene involves a vehicle of an entirely different kind.

104. The Grifters

Based on Jim Thompson’s grimey story about smalltime criminals, Stephen Frears’ film was robbed when it didn’t win a single Oscar from its four nominations.

88. Bullitt

With Steve McQueen in the title role, a legendary car-chase and a score by Lalo Schifrin, Peter Yates’ Bullitt still oozes as much cool now as it did in 1968.

16. Reservoir Dogs

Quentin Tarantino exploded onto the screen 20 years ago and in the time since, he has had but one crucial collaborator; his editor Sally Menke.

4. Point Blank

John Boorman’s first film in America brought a very distinctive and European look to the hardened Hollywood gangster genre.


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