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14’s Good, 18’s Better

Diabolique

Essays

Feb 1, 1999 — After finishing Diabolique, heralded French director-screenwriter Henri-Georges Clouzot (1907–1977) confessed that all he had intended was to make a picture that would “amuse myself” and please a young girl who hid under the covers and asked her father to frighten...

Oliver Twist

Essays

Jan 11, 1999 — David Lean followed his prodigious adaptation of Charles Dickens’ Great Expectations with this brilliant crystallization of Dickens’ Oliver Twist; or, the Parish Boy’s Progress. It deploys the cinema’s special powers of dash and immediacy to convey all the venturesomeness and...

RoboCop

Essays

Sep 8, 1998 — Paul Verhoeven’s breakthrough American film gleefully satirizes the Reagan era’s pet doctrines of free enterprise and privatization.

Aug 25, 1998 — Abeautiful woman is mysteriously beating the bejesus out of a drunk when he suddenly pulls at her hair and it comes off. The now totally bald woman continues smacking him around with her shoe until he falls to the ground....

The Killer

Essays

May 5, 1998 — Borrowing inspiration from doom-laden French crime movies like Jean-Pierre Melville’s Le samouraï and ancient Chinese chronicles of patriotic assassins, John Woo’s film is a passionate cinematic upheaval.

Hard Boiled

Essays

May 5, 1998 — John Woo’s last film made in Hong Kong before his emigration to the U.S. reflects the city's anxieties and state of crisis throughout the decade.

Vivre sa vie

Essays

Jan 7, 1997 — Vivre sa vie, made in 1962, was the fourth of Jean-Luc Godard’s films. He had so far turned out a gangster-movie knockoff (Breathless), a dark political picture (Le Petit soldat), and a sort-of-musical comedy (Une femme est une femme). Now...

Nov 15, 1994 — Andrzej Wajda’s third full-length film established the director as a leader of the new Polish cinema.

Polyester

Essays

Dec 19, 1993 — The first above-ground picture made by John Waters was a cinematic breakthrough more profound than Dolby sound or Cinerama.

Dec 22, 1992 — With a script by Graham Greene, Carol Reed’s thriller plays upon the classic themes of trust, innocence, betrayal, and truth through the lens of a precocious eight-year-old.

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