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.
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.
Whether it be ethically, legally, politically, geographically or even chemically, Michael Mann’s multi-Oscar nominated picture is about crossing the line.
Cristian Mungiu won the Palme d’Or for his unflinching drama about a single day in the lives of two young women.
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.
Werner Herzog’s hallucinatory telling of a Conquistador’s search for El Dorado etches a landscape of greed on the human face.
For all its groundbreaking effects and narrative innovation, this owes a debt to a romantic fantasy and a Soviet propaganda film.
The impact of Gillo Pontecorvo’s masterpiece is so great that it extends far beyond cinema and into terrorist organisations, as well as the US Pentagon.
What makes for a great opening? Character? Conflict? Poetry? Hopefully, more than something we’re supposed to just listen to.
The world is so noisy, we unconsciously filter out all that we don’t want to hear. Much of film sound operates in the same way.
What makes for a great scene? Performance? Conflict? Dialogue? Visuals? Music? Combine them and you have atomic weight.
Beauty, Gangster, Hustle, Psycho, Sniper. With so many films using “American” in their title, is the appellation losing its significance?
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.
If jazz really is the authentic American art form, why are there so few great jazz movies? No matter, at least there are dozens of great jazz soundtracks.
When it comes to cinema, many people consider black & white as old. Yet the same people also consider it beautiful. Surely black & white is more than that?
Spike Lee’s joint was the hottest movie of 1989 and marked him as a major director. The years since have not diminished its power.
The original Scarface was released in 1932. In 1983, Brian De Palma directed Al Pacino in an update scripted by Oliver Stone. Are ‘remakes’ always bad?
‘Dirty Harry and the homicidal maniac. Harry’s the one with the badge.’ With a tag-line like that, no wonder the film has been the subject of controversy.
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