Category: Film

Certainly the coldest film ever made about l’amour fou, Francois Truffaut’s 1981 production fails to satisfy emotionally but contains some of his most creative direction post-Jules and Jim. It’s a very studied, very formal work in which a tale of fatal attraction (betweeen Gerard Depardieu and Fanny Ardant) becomes a study of the contrasting implications […]

Peter Weir’s attempt to make a Casablanca for the 80s—a romance set against a background of exoticism and intrigue—suffers from hazy plotting and a constant, pretentious mystification. The lovers—Mel Gibson as a naive Australian reporter and Sigourney Weaver as an employee of the British embassy, both caught up in the Indonesian political turmoil of 1965—have […]

Director Peter Yates seems to have decided that the way to make a movie about the theater is to suppress every trace of the cinematic. His 1983 adaptation of Ronald Harwood’s play comes down to a scenery-chomping contest between Albert Finney, as a legendary Shakespearean actor on his last legs, and Tom Courtenay, as the […]

The 60s school of improvisational comedy is beautifully preserved in Theodore J. Flicker’s film, which pits LBJ’s shrink (James Coburn) against a plot for world dominance hatched by TPC (The Phone Company). The vague, shapeless paranoia of the period—a liberal distrust, rather than a radical disgust—is well conveyed through a series of barely connected skits, […]

Herbert Ross continues the venerable tradition of butting ballet and melodrama in a story of two old rivals (Shirley MacLaine and Anne Bancroft) squabbling over the artistic soul of MacLaine’s daughter (Leslie Browne). The musical question, as always (cf The Red Shoes), is whether to dance or to love. For a film ostensibly dedicated to […]

2 hours 11 min

A grimy, superior film noir by Andre de Toth (1948). Dick Powell is a foursquare family man who enjoys a harmless dalliance with model Lizabeth Scott, unaware that he’s risking the wrath of a psychotically jealous private eye, Raymond Burr. An iconographical plus is Father Knows Best‘s Jane Wyatt as Powell’s patiently beleaguered wife.

Paul Mazursky’s onanistic autobiographical film (1976) seems more like a slavish hommage to Federico Fellini than a genuine reminiscence, borrowing equally from the Great Italian’s condescending caricature and slimy sentimentalism. As Larry Lapinsky, a Brooklyn boy come to the Village to learn acting, Lenny Baker spends most of the film fighting off his mother’s slobbering […]