ENCHANTING TALE OF COURTLY HONOR AND CHRISTIAN VALUES SUBJUGATED BY MORE ANCIENT CELTIC FEMINIST RITUALS.
This film is a meditation. For those pinheads who like Knight Riders, let them live in their flat world of glands. For those of us with brains and souls, let great films like this.
KUROSAWA MIFUNE SHIMURA: What Else Need I Say?
This is the perfect hot day Japanese noir film from Kurosawa, inventing this sort of detective film for Japan from his own knowledge of detective fiction and American detective films.
Toshiro Mifune has found his stride as a brilliant international star able to carry a film, Takashi Shimura shines again deeply but quietly as the experienced Mentor to him who runs half as fast but gets further, and in their young ingenue…
PUNK JEANNE D'ARC: SNUFF FILM FROM THE JAZZ AGE
This film, even nearly a century after it was made, can be approached from so many vectors--feminist, historical, religious--but these are accessed by how simply visual it is, and how spare and austere the visual imagery is: mostly just short close-up shots of faces edited quickly together to evoke powerful emotion: Dreyer doesn't allow us a contextual orientation of an establishing long shot---all of the characters could be missing limbs or…
"I don't care who sees me naked. I care who sees me crying".
This wonderful series is the Smarter Bond Movie--six hours long--that John le Carre' has always been able to weave for us: with far fewer gadgets for boys, far more charming and even human Villains, and Sexy Femme Fatales whose Intelligence and Confidence are so stalwart that they'll happily become The Boss' Whore for the right price and the right lifestyle.
Take any one of the major characters…
The Spy Genre has always been about Gear, Gadjets, Girls, and Guys Who Drink, Punch Hard, and Shoot to Kill. With the occasional wonderful spy film like Atomic Blonde or Red Sparrow, where the woman gets to point and shoot.
But the real development of the Bourne cycle, compared to classic Bond or LeCarre' heroes is two things: the Gadgets now can see anywhere in the world, and the genre is now respectable enough that Real Pretty Actors will take…
THE KOREAN JOB FAMILY IN ARKANSAS:
At times, this is like the Waltons, only Korean, and I see lots of bad planning that went into this, and not near enough consensus between the parents to make this move with so many variables.
But I've never seen an Immigrant tale like this for Korean, or even any Asian-American families before, and for that alone, it's a pleasure to see it come about, even if I think the ending is a touch oblique.
"I grew up in a city that was destroyed, so I loved the landscape and buildings of America where the mountains and rock formations were ancient and the buildings and highways and drive in banks were enormous and brand new. It was very inspiring to a kid from a city that had been destroyed just before I was born. But I knew I would have to go back one day and make a film about my beloved Berlin. And Berlin…
HIPPY GERMAN MOM DITCHES CHILD IN NYC FOR MAN WITH CAMERA TO FLY BACK TO EUROPE WITH CHILD.
What we expect from Wim Wenders is blows, wandering, humane films with sensitive, barely post-pubescent adult men who are generally feckless, passionate and vital women who, for some reason are around them though usually leaving them, and the occasional child who's emotionally the same age as the Man.
And we have most of those elements here in a small, messy, funky Wim…
Everything works in this film--though the ending is a little off base.
Robby Muller gets some of the greatest footage of the Tex/Mex border ever, Ry Cooder makes one of the greatest soundtracks in film history, and every actor is solid, vibrant, and engaging in this film--even the kid.
This was the film we all wanted to see when it came out because it was the cool Wim Wenders, the incredible Ry Cooder, and the amazing Sam Shepard writing it.…
PROBABLY THE BEST HANGOVER FILM EVER, SINCE YOU START WITH CLAIRE HUNGOVER, GO ON LONG-ASS ADVENTURES ALL OVER THE WORLD, AND NONE OF IT REALLY MAKES SENSE...
The longest, loosest, funkiest, messiest road movie ever, by a film maker who cares more about getting the soul right and the landscapes shot than giving the actors lines that sound in any way believable.
It's clearly his love letter to Solveig Dommartin, giving her more picturesque and lovely locations than most actresses…