222. The Night Of
In adapting Peter Moffat’s original BBC series, Criminal Justice how did Steven Zaillian and Richard Price turn it from a legal thriller into a social drama?
Tag Archives: Editing
220. City of God
Adapted from Paolo Lin’s non-fiction novel, director Fernando Meirelles cast non-actors to capture life, death and everything in-between in Rio’s favelas.
218. Crouching Tiger, Hidden Dragon
An unknown author, a director not known for action, and only one actor fluent in the language. How did this film succeed?
217. Great Scenes – Part Three
What makes for a great scene? Performance? Conflict? Dialogue? Visuals? Music? Combine them and you have atomic weight.
213. Cinema Sex
Orson Welles was one of cinema’s true geniuses but was he correct in claiming that two things cinema couldn’t honestly depict were prayer and sex?
209. Raiders of the Lost Ark
Thirty-five years old, Spielberg’s classic was inspired by more than just the Saturday matinee serials he watched as a child.
208. The French Connection
William Friedkin’s Oscar-winner may be a gritty thriller but it owes an enormous debt to a classic of 19th century American literature.
205. Fargo
When released in 1996, Fargo was seen as the Coen brothers’ breakthrough film. As the years roll by it has increasingly become a lynch pin in their canon.
204. The Most Influential Films Ever Made – Part Two
The films that really changed the course of cinema are often ones few people have seen.
203. Son of Saul
While cinema has a moral duty to bear witness to history, the problem is that to witness something you have to see it. How can you show the Holocaust?
202. #Shakespeare400
He died in 1616 but the fact that over four hundred films have been made from his plays shows how much The Bard knew about human nature.
200. Apocalypse Now
Francis Ford Coppola’s radical adaptation of Joseph Conrad’s novella is one of the most astonishing achievements in the entire history of cinema.
198. Reel Space/Time – Part Two
In his Poetics, Aristotle wrote that drama needs a unity of space, time and action. How does cinema deal with such restrictions?
185. In the Name of the Father
The story of Gerry and Giuseppe Conlon is one of injustice, but it is also a unique retelling of Carlo Collodi’s Pinocchio.
183. Room
In adapting Emma Donoghue’s award-winning novel, Lenny Abrahamson extends a cinematic tradition established by French master, Robert Bresson.
181. In the Mood for Love
Mixing social history, European art film and a British melodrama, Wong Kar-wai delivered a masterpiece of aching beauty.
179. Traffic
Steven Soderbergh’s drama is fifteen years old but came of age the instant it was released because it dared to reimagine the war on drugs.
178. Brief Encounter
Once dismissed as parochial and passé, the influence of David Lean’s classic can be seen in such unlikely places as The Third Man, The Godfather and Carol.
177. The King’s Speech
This film has two men talking. However, its strength lies in the way it uses sound to tell us one thing while showing us another.
174. The Unbearable Lightness of Being
How well did Philip Kaufman succeed in adapting Milan Kundera’s ‘unfilmable’ philosophical love story?
171. Three Days of the Condor
Adapting James Grady’s straight forward thriller, Sydney Pollack delivered a commentary on dehumanising institutions.
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.
166. The Killing Fields
When it comes to America’s military intervention in South East Asia, David Puttnam’s Oscar winner is the anomaly. Less a war picture, it’s more a love story.
160. Amy
Asif Kapadia’s extraordinary documentary makes for uncomfortable viewing, not least because he doesn’t only focus on the flaws of the tragic singer.
