One More Shot

Sep 17, 2001 — George Sluizer’s nightmarish film is a study in everyday madness, rooted in the specifics of the Dutch and French landscapes and character.

Aug 20, 2001 — Carl Dreyer’s modern tragedy eschews melodrama, striking a balance between suffering and triviality.

Aug 20, 2001 — The strangeness of Ordet is something that no number of viewings, God willing, will rub off. I want to stress this strangeness. That Ordet is a great film, one of the greatest ever made, only a rash or foolish person...

Jul 9, 2001 — With its dunderhead millionaires, erudite bums, effulgently dysfunctional families, and beneficent providence, My Man Godfrey is the Depression comedy par excellence. It is also, superficially at least, a movie about the Depression. A suicidal millionaire regains his zest for living...

Jun 18, 2001 — Pent-up, unfulfilled sexuality spills onto the screen in Douglas Sirk’s sumptuous melodrama.

May 21, 2001 — Akira Kurosawa’s period film not only commemorated historical Japanese myths with new, vivid feeling but also created the source for many of the enduring entertainment tropes in world cinema today.

Apr 23, 2001 — A majestic synthesis of disparate forms, Sergei Eisenstein’s final film seems to be as much a ballet or a moving painting as it is a movie.

Nov 13, 2000 — All the opening bands had finished playing, and it was time for the Stones to come out. The sun was still out and there was plenty of daylight left. The crowd had waited all day to see the Stones perform,...

Oct 2, 2000 — The most important of Brian De Palma’s earlier features, Greetings (1968) and Hi, Mom! (1970), resist the commodification of entertainment while charting the development of Jon Rubin (Robert De Niro) from voyeur to filmmaker to urban guerilla. If pictures like...

Sep 18, 2000 — Drenched in mud and rain, Lars von Trier’s breakthrough film inhabits a true twilight zone, bereft of heroes and integrity.