R • 1 hour 45 min • 1984
NR • 1 hour 36 min • 1947
Craftsmanship, intelligence, and refined sentiment are the hallmarks of Bertrand Tavernier’s exquisite French feature (1984), a model of how much ground can be covered with the smallest movements. In 1912 an elderly painter (Louis Ducreux) is visited at his country home by his straitlaced son (Michel Aumont) and his family; the old man’s daughter, a […]
The bucketloads of sanctimonious message mongering ladled on by director Peter Hyams still can’t disguise the sheerly mercenary basis of this 1986 project, a wholly uncalled-for sequel to Stanley Kubrick’s 2001. Kubrick’s 1968 film was the first in American movie history to get an open-ended, modernist narrative past a popular audience; Hyams has set himself […]
A 1984 thriller by Michael Crichton (Coma, Looker), set in a not-too-distant future where a police sergeant in charge of stopping runaway robots (Tom Selleck) comes up against an evil genius (Gene Simmons of Kiss) who has found a way to program them to kill. With Cynthia Rhodes, Kirstie Alley, and Stan Shaw. PG, 100 […]
Great moments stud Bernardo Bertolucci’s 1976 Marxist epic, but the end result is ambiguous. Robert De Niro is a landowner, Gerard Depardieu is a peasant; they share a birthday and most of the history of the 20th century—the fall of feudalism, the rise of fascism, and two world wars. In the film’s four-hour version, at […]
Touching, funny tale of a maverick jive-talking black angel named Levine (Harry Belafonte) who tries to redeem himself with the higher powers by helping a poor, moaning Jew named Mishkin (Zero Mostel). Jan Kadar directed this 1970 fable.
A genuine charmer by George Roy Hill, a director best known for such ersatz charmers as Butch Cassidy and The Sting. His crowd-pleasing instincts have been subsumed by a bracing technical assurance here; the contrivances are still there, but they’re presented with a smooth and rare professionalism. The plot of this self-styled trifle recalls one […]
Chicago Filmmakers’ “dada soiree” will feature a collection of French and German dada films made between 1922 and 1931—including work by Man Ray, Marcel Duchamp, and Hans Richter—plus a live performance by Andrew Laties of Kurt Schwitters’s dada sound poem The Ursonata.
India’s land reform policies are attacked in a 1982 feature by Shyam Benegal, which follows four intertwined stories of peasants forced from their farms despite the government’s guarantees of protection. The central figure is a sharecropper who takes his case to court; his experiences turn him into a political activist.
One of the first gay films to gain an above-ground release (1973). As the title suggests, Christopher Larkin’s feature is heavy on positive, healthy images—lots of romping in the surf and that kind of thing. It’s more than a little dated now (and its R rating remains a total mystery), but this was a stage […]
1 hour 35 min • 1950
The most famous of the many adaptations of Max Brand’s story of a shy sheriff who tries to tame a wide-open town without using his guns (1939). The material makes no demands on the talents of James Stewart and Marlene Dietrich, but they enter gamely into the farcical tone set by director George Marshall. Singing […]
Andrew Horn’s independent feature uses distorted, Caligari-like sets and a score by Evan Lurie of the Lounge Lizards to tell the tale of a suicidal English professor who falls madly in love with his psychiatrist’s nurse. Horn aims for an operatic expansion of the modest material, attempting to fuse camp detachment and melodramatic grandeur (1983).
Carol Reed’s careful if passionless adaptation of the musical was mounted handsomely enough to win the best-picture Oscar back in 1969. In retrospect, it seems emblematic of the triviality Reed descended to in the last years of his career. The Third Man it’s not. With Mark Lester, Oliver Reed, and Ron Moody. 153 min.