Posted by Greg Ferrara on March 10, 2017
Guillermo del Toro was still in his twenties when he wrote and directed Cronos (1993), a horror movie, yes, but also a movie about time and age and what it means to live forever. One might think 29 too young an age to tackle such subjects but when it comes to horror, in particular, and moviemaking, in general, del Toro could easily be the subject of Count Dracula’s famous response to Van Helsing, “For one who has not lived even a single lifetime, you are a wise man.” Since then, del Toro’s reputation has grown and his movies have become blockbusters at the box office but his first one out might still be my favorite.
Posted by Kimberly Lindbergs on March 9, 2017
Rosemary’s Baby (1968), which is streaming on The Criterion Channel at FilmStruck throughout the month of March, is rightly hailed as one of the best American horror films of the 1960s. It begins and ends with a mother’s lullaby but the unsettling story of Rosemary and Guy Woodhouse is anything but soothing. Mia Farrow and John Cassavetes star as a young married couple who move into an antiquated apartment building in New York with an unpleasant history. After reluctantly befriending some colorful and intrusive elderly neighbors (Ruth Gordon and Sidney Blackmer), the Woodhouse’s lives are gradually transformed into a Faustian nightmare.
Posted by Nathaniel Thompson on March 8, 2017
If you didn’t see it when it first opened, there’s really no way to describe the visceral charge that went through audiences when The Crying Game first started to roll out in select American theaters just after Thanksgiving in 1992. Bill Clinton had just won his first presidential election, grunge was exploding, the Cartoon Network had just launched and Sinéad O’Connor was still in the public consciousness after ripping up a photo of the Pope on live TV. Moviegoers were experiencing whiplash with a wild array of films like Unforgiven, Basic Instinct, Wayne’s World, Scent of a Woman and Batman Returns turning into significant hits by year’s end, not to mention indie smashes for Robert Altman with The Player and some newbie named Quentin Tarantino with Reservoir Dogs. It was a strange time.
Posted by R. Emmet Sweeney on March 7, 2017
Claudia Weill described her companionable film Girlfriends (1978) with a quote from the Eleanor Bergstein novel Advancing Paul Newman: “This is a story of two girls, each of whom suspected the other of a more passionate connection with life.” Or to put it in modern parlance, it’s a comedy of FOMO (fear of missing out). Girlfriends portrays the NYC friendship between the Jewish brunette Susan Weinblatt (Melanie Mayron) and the WASP blonde Anne Munroe (Anita Skinner). Susan is delaying family life to pursue a career in photography, while Anne speeds into marriage and kids while putting her writing to the side. They envy the other’s freedom and security, respectively, and their once unbreakable bond begins to fray. Girlfriends began as a documentary project on Jewish American identity, with funding from the AFI, but instead Weill funneled all her research into an independent feature, one so well-received it was picked up by Warner Bros. for distribution. Though the set-up can be a bit schematic, Weill has the patience of a documentarian and allows the actors to build their characters from types into complex personalities (shooting on location in shabby NYC apartments helps with the verisimilitude). The cast is superb all around, from Mayron and Skinner to the men who pursue them with varying degrees of success (an anxious Bob Balaban, flighty Christopher Guest and a charismatic Eli Wallach). Girlfriends is streaming on FilmStruck, and is also airing on Turner Classic Movies Wednesday March 8 at 9:15am.
Posted by Susan Doll on March 6, 2017
When I lived in Chicago, I enjoyed learning the city’s history—not the events you find in text books but the city’s pop culture history. Chicago was that toddlin’ town where notorious gangsters opened red-hot nightclubs in which soon-to-be-famous singers and comedians launched their careers; or, serial killers trolled for victims at the larger-than-life Columbian Exposition of 1893; or, the yellow press turned nobodies into celebrities because the competition to sell papers was so cutthroat. (See last week’s post on the 1919 Black Sox baseball scandal.)
Posted by Pablo Kjolseth on March 5, 2017
As of late a lot of my friends are purging themselves of records, books, movies and more. I’ve been the happy recipient of these spoils and, as best I can, I have been trying to give these items a good home. Something in this act reminds me of The Gleaners and I (2000) – a documentary by Agnès Varda about people who make their living sifting through that which has been discarded by others. Varda, who made her first film at the age of 26 (La Pointe Courte, 1955) and whose work was essential to the French New Wave, was the first woman to receive an honorary Palme d’or two years ago. Her work is infused with a deep intellect that is kind, ruminative and open to experimentation.
Posted by Jill Blake on March 4, 2017
In 1948, director Joseph Losey made his first feature-length film, the beautiful technicolor comedy-drama, The Boy With Green Hair for RKO Pictures. Based on the 1946 short story written by Betsy Beaton, The Boy With Green Hair stars the great Dean Stockwell, Pat O’Brien and Robert Ryan. This post-WWII film undoubtedly attracted audiences, especially families with children, with its title and a shamrock-haired Dean Stockwell featured in the advertisements. Although the title and the opening credits suggest a fun-filled story, much like the live-action Disney films of the 1960s and 1970s, Losey’s film puts the spotlight on the very serious topic of war, its aftermath and victims.
Posted by Greg Ferrara on March 3, 2017
It seems hard to believe, but the Coen Brothers made their debut film well over thirty years ago now. In 1984 they put together their own trailer, a trailer for a movie they hadn’t even made, and went about getting the financing to make the film come true. The result was Blood Simple, a crime thriller that was also a showcase for some of the best talent in the movies at that time, talent that, to this day, has never gotten its full due. But it also stands as a testament to how artists change, how they view their work and whether any of it matters in the final analysis.
Posted by Kimberly Lindbergs on March 2, 2017
When Jane Birkin (Blow-Up , Wonderwall , La Piscine , Don Juan (or If Don Juan Were a Woman) , Je t’aime moi non plus , Death on the Nile , Evil Under the Sun , La Belle Noiseuse ), Boxes ) was getting ready to celebrate her 40th birthday in 1986 she confessed to filmmaker Agnès Varda that she had reservations about growing older. Varda, who was almost 60-years-old at the time, told Birkin that she was about to enter a wonderful phase in her life and asked if she could shoot a cinematic portrait of the actress, filmmaker, model and chanteuse that demonstrated her evolution. After some coaxing, Birkin agreed and together the two friends crafted the creative docudrama Jane B. par Agnès V. (1988) currently streaming on FilmStruck as part of The Masters: Agnès Varda collection.
Posted by Nathaniel Thompson on March 1, 2017
Okay, it may technically be Wednesday, but there’s never a bad day of the week to pay a visit to Black Sunday (1960), the grandmother of Italian horror films. Sure, the country produced a few movies with horrifying or macabre elements, most notably Riccardo Freda’s I Vampiri (1957), but here’s where the magic really kicked into high gear and set the stage for a dazzling wave of phantasmagorical creations that would run well into the 1990s. [...MORE]
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