Pauline Kael's Reeling is first rate.
926604
Great writing on films - even if one finds oneself disagreeing half of the time. I highly recommend to anyone interested in film from this period.
1290348
1965's "Rapture" starring the forgotten, brilliant French actress, Patricia Gozzi, who was so indelible in "Sundays and Cybele" is just as captivating in this American film directed by John Guillermin, director of such great movies as "The Blue Max" and "The Towering Inferno."  Cast opposite her is the forgotten heartthrob, Dean Stockwell and Melvyn Douglas as her stern father, a one-time judge.  Gozzi, whose charm and sincerity and remarkable depth she achieves in her acting skill reminds of the talent of young Hayley Mills.  It is a pity she only made a handful of films and is now married and living in Paris and working as manager in an English firm.  Although the film is in black-and-white, the Twilight Time Blu-ray of the Cinemascope film is breathtaking in its clarity and is a limited 3,000 piece edition.  They certainly do not make them like this anymore, and rarely made them like this at all.  With a screenplay by Stanley Mann and a wonderful score by Geroges Delerue, also available here as an isolated track.  Only available in Blu-ray, but certainly the reason to watch movies in Blu-ray.
1222093
Splendidly embellished and erotically charged film inspired by the tragic consequence of the relationship between Hlose d'Argenteuil and Peter Ablard. Historically cringe-worthy, but the stellar cast (Derek de Lint, in particular, gives a compelling and layered performance as the distinguished and complex teacher, Peter Ablard) and thoughtful script allows one to forgive its dramatic license. The symbolism of the white dove's feather was an excellent touch.

What succeeds in this film is that it doesn't, at least initially, over-simplify or exploit the stark reality of these two individuals whose lives were immeasurably altered by Canon Fulbert's singular act of brutality.  Where it falters, is that it doesn't keep up that momentum during the latter half and begins to descend into a vague sort of romanticized apology that clings to posterity's won't of reducing a multilayered, physiological, psychological and emotional disaster to an idealized myth...which has done these two brilliant souls a disservice for centuries.
1875150
This is a wonderful movie!  In this current cultural nadir in which an admitted sexual assaulter/grabber/pervert has been elected to a very high position, this film which explores the world of dominant/submissive - CONSENSUAL relationships is riveting.  To see Maggie Gyllenhaal's character evolve from a self-destructive and acutely suffering soul into a woman awakened by newfound love - is to behold cinematic wonders and intrigue.  I cannot say it often enough:  Maggie Gyllenhaal and James Spader make this movie a sheer delight.
918779
I'm not sure that this book qualifies as one of the greatest of all time, but it is certainly one of my all-time favorites. My first aquaintance with the story was seeing the 1967 movies, with Julie Christie, Terence Stamp, Peter Finch, and Alan Bates as the four main characters. (If you haven't seen it, this movie is very much worth the trouble.) Of course seeing the movie first has somewhat influenced the mental images of the characters in my head, despite the blonde, blue-eyed Christie playing the dark-haired, dark-eyed Bathsheba Everdene.

Yes, the story is about a beautiful women and the three men who court her, marry her, die for her, and swing for her (almost). There are lots of interesting sociological and historical topics here, and a great deal of the drama and pathos of the plot stems from the completely defenceless position of a women who, whatever wealth she may possess, essentially loses all control over her life when she marries someone whom, in contemporary terms, we might call a serial abuser.

But for me the real attraction of the book is the wonderful portrayal of nineteenth century rural life and the beautifully handled dialogue which is full of humor, pathos, and ultimately tragedy.

So, although in some respects the plot is not all the dissimilar from your typical Mills & Boon type scenario, there is much, much more in this book, and by the time you finish reading it, you have experienced a totally absorbing emotional rollercoaster ride and it is hard to say goodbye to these characters who truly come to life in the imagination.

Very, very highly recommended.
1703643
The melancholic tale of rapacious Lily Bart, that was so meticulously and brilliantly written by Edith Wharton, deserves to be depicted onscreen with the same fluidity, subtleties and emotive presence as the novel, and I'm not exaggerating when I say that director Terence Davies truly accomplished this. Having read the novel a couple of weeks before, I was so anxious to see the movie adaptation that could do it justice and in my opinion, it sure did.

What Davies concocted in this small-budgeted movie that somehow looks extravangant and lush is the dreamlike atmosphere, with shades of ethereal lighting, that poses a stark contrast to the realism and a sense of brutality in the movie. It seems realistic in a way, as people have mentioned, by the lack of background music that may all but decimate the essence of the words said by the characters. The stillness of a scene without music whatsoever, pulls the audience in and makes the conversations more private and true.

I'm actually very happy that Davies had decided to retain the 'stilted', formal dialogue that Edith wrote, which makes the similarities between the novel and the movie more tangible. Most of the actors seem to be at ease with the dialogue, and I can only sing songs of adulation to Gillian Anderson. I'm not very familiar with her and the supporting cast's work, and the faintest memory of Gillian in X-Files that I have is when I was barely in elementary school.

Gillian is absolutely resplendent as Lily Bart, and the fact that her translucent azure eyes emoting a paroxysm of different emotions within seconds astound me. Her downward spiral towards penury is executed wonderfully; her trembled voice and breaths and her fatigued expression just express pure debility. She does an absolutely  brilliant performance that deserves a universal recognition.

As Lawrence Selden, the handsome Eric Stoltz portrays him with such sophisticated charm, at times boyishly, and flirtatious air that it's no wonder that Lily, Grace Stepney and Bertha Dorset are vying for him. In the second part of the movie, Stoltz proves to be a remarkably effective actor in doing dramatic scenes, especially his final scene where he strips off Lawrence's righteous facade and pours his heart out that all but shows the vulnerability and despondency of a crestfallen man. Only stone-hearted people are not affected by this particularly sad scene.

I also have to mention that Gillian and Stoltz elicit amazing sparks and chemistry from each other, which makes their attraction very credible and justified. They react off each other perfectly just with clandestine glances, smiles and even behind cigarette smokes. Their intimate scenes are titilating and private, under Davies' claustrophobic frame, that makes me feel as if their rendezvous is not meant to be seen by the audience.

Other standout performances for me are Anthony LaPaglia as Sim Rosedale and Laura Linney as the vulturous Bertha Dorset, whose malicious intentions lie behind her placid smiles.

The only complaint I have about this movie is that some scenes can only be understood by the rarefied few, albeit those who have read the novel. One scene in particular is the entertainment at the Brys where they held a tableux vivants and Lily was Watteau's Summer. It seems to come out of nowhere in the movie without explanation whatsoever. Such problems occur, unfortunately, because of the meagre amount of budget.

Nonetheless, The House of Mirth is an extraordinary adaptation and it lingers on with me long after I finished watching it that I had to watch it again on the same day. And both times, I couldn't help but cry and feel extremely moved by the movie. This is the movie to see if you enjoy the aesthetics of great cinema and leisurely-paced movie that is deep and wreathing with emotional turmoil.
2754322
A Royal Scandal has taken a critical drubbing over the year and director Preminger professed not to like it. The film is brilliantly paced (rapid fire and crackling dialogue throughout), superbly acted, magnificently designed and photographed, and scored very creatively by Alfred Newman. One sees the seeds for Tallulah's famous offstage character in her shameless cruising of the young soldier who wants no greater glory than to be close to the throne and at this point she is young enough to pull it off gracefully, veering just to the edge of camp without crossing the line. Charles Coburn is very wisely used; a consummate reactor, he is often seen in the background tellingly reacting to two characters' interaction in the foreground. Anne Baxter brings fire and music to her role as the soldier's fiance and Vincent Price brings a great deal of wit to what is little more than a cameo as the French ambassador.

Talullah's film appearances were few (The Cheat only recently released on DVD) and this showed her at her forte: comedy. Granted, she was also one of the great dramatic actresses of her day - her performance in The Little Foxes on Broadway is considered to be one of the finest of the 20th century - but more marketable actresses always won out over her in Hollywood; she never forgave Bette Davis for "stealing" the role of Regina in Foxes from her.
4319506
Confessions of a Young American Housewife belongs in the same sphere as any number of mainstream films of the 70's that examined that decade's lifestyle revolutions (which began in the sixties but didn't become widespread until the Me Decade). Of course, its sexual content kept it out of the larger spotlight. Sexually, the film is softcore, although it plays like hardcore, meaning it is definitely not a bunch of tease. In any event, the movie is an intensified look at open marriages and smartly uses a soap opera style to maximize the middle class melodrama while subverting it at the same time. Director Sarno is also very adept at a form of stagey blocking in which all the actors face the camera but at staggered distances. It effectively shows each characters inner thoughts and processes as the incestuous logic of the swinger credo looms in. Which, incidentally, is a literal term here as a visiting mother (Jennifer Welles and her bombshell body playing the ultimate MILF) and her daughter grown progressively closer as a result of daughter facilitating mother's sexual re-awakening. Daughter is played by Mary Mendum aka Rebecca Brooke, who is a stunning visual presence. She seems to float ethereally as the camera explores her character's face -- a sexually open woman who is yet struggling with her staid, middle class upbringing. I highly recommend this to anyone interested in 70's cinema and/or sexual cinema. It's a gem that has been unearthed and presented in the high quality transfer it deserves.
1626393
The enormously talented Emma Thompson wrote the marvelous screenplay for this brilliant adaptation of Jane Austen's novel of the same name. Ms. Thompson rightly won a Academy Award for Best Screenplay for her efforts. The film itself, first class in every respect, received seven Academy Award nominations and was named Golden Globe Best Picture of the Year.
The film revolves around the two Dashwood sisters, the passionate and highly impetuous Marianne (Kate Winslet) and the more conformist and restrained Elinor (Emma Thompson), who have had a sudden reversal of fortune, having been left impoverished upon the death of their father. Their financial condition is exacerbated by the evil machinations of their sister in law, Fanny Dashwood (Harriet Walter), who manipulates her husband, their half brother, into pinching pennies with them, causing them no end of hardship.
This nineteenth century tale of morals and manners details the romantic trials and tribulations of the Dashwood sisters. Marianne falls in love with a scoundrel, John Willoughby (Greg Wise), who leaves her high and dry for a woman with a fortune. Meanwhile, the kind and courteous Col. Brandon (Alan Rickman) falls in love with Marianne and suffers from unrequited love for some time, until Marianne regains her senses. Elinor falls in love with Edwards Ferrars (Hugh Grant), her evil sister in law's brother, and he with her, but many obstacles to their pairing are interposed along the way. All comes out right in the end, however, but it is the getting there that makes this film a must see.
A witty, funny, and romantic film, it boasts a first class  ensemble cast. While Ms. Thompson may be a bit long in the tooth for the role which she plays, her thespian talents and charm enable her to pull the proverbial rabbit out of the hat. Beautifully directed by Ang Lee, this film should top the list of those who love Jane Austen and those who adore superlative period pieces.
3163110
Jodie Foster is no Clarice.  John Reilly ditches his Step-Brother.  Kate Winslet doesn't need Leo to be brilliant, and Christopher Waltz is more glorious than inglorious while playing a perfect bastard.

I saw Carnage on the Broadway stage and didn't think the movie vesion would be able to do it justice.

I was wrong.

Carnage is a wonderful film.  The four principals deliver tour de force performance that should have netted them each at least an Oscar nomination, if not an award.  Kate Winslet and Jodie Foster turn in wonderful performances as women who slowly let their inhibitions go as they imbibe 18-year old scotch and begin to say how they really feel about life, love and their families.  Waltz is wonderfully smarmy as the workaholic lawyer.

I'm not a fan of Polanski's personal choices but you can't take away from him his brillance as a filmmaker.  The genius of this movie lies in the small details:  the film panning to the cellphone as it buzzes in the tray and the mirror screen shots, to name two.

This movie walks a fine line between comedy and drama and walks it beautifully.  You're never really sure if you should laugh or cry.  It makes you uncomfortable with its honest depiction of marriage and family, but I think that the best films should leave you feeling a little uncomfortable.
496110
Very few films are better than the book, but director Jonathan Demme doesn't seem to have any problems doing just that with an international acclaimed bestseller. If you haven't seen this five Oscar winner, then it is about time that you did.

A sexual serial killer known as Buffalo Bill, is kidnapping women across Midwest America, murdering them and dumping their mutilated bodies near a river. Behavioral science division of the FBI sends Agent Clarice Starling (Jodie Foster) on a mission to a prison/hospital for the criminally insane to interview the serial killer Dr. Hannibal Lecter (Anthony Hopkins) to see if he can help with the investigation by giving her clues for a psychological profile of Buffalo Bill. Hannibal the Cannibal is cryptic and illusive sending Starling around the country mostly searching for something unknown that Hannibal has directed her towards. Not only does he give her some details as to the psychological profile of the killer but he eludes to much more than she originally thought he knew. Hannibal starts to play games with Starling, ever eager to impress her boss, by giving her a psychological profile of herself in return for more information about the case. An uncanny and often dangerous relationship begins and things take a turn for the worse when a senator's daughter is kidnapped causing various government agencies to impede the case which sets up a gripping climax as the illusive Lecter plays people into his own hands.

Essentially it is smart horror movie with lots of dialogue, plot and suspense. It is both mystical and disturbing. Demme often uses the camera directly with the actor looking at you to make the movie more "personal" in nature.

Thoroughly engaging. This is the film that set new benchmarks in the modern horror/suspense/thriller genres. Often copied, never equaled. It is easy to fall under the spell of this piece of cinema.
3343013
Within three days of seeing this film for the first time, I watched it twice more.  It captivated me that much.  The subject matter is heavy but the story is not a parable; it does a fantastic job of not dictating a lesson learned or creating archtypes of heroes and villains.  The story is presented nonlinearly but not in a gimmicky way, focusing on five phases of the protagonist, Eva's (Tilda Swinton) life.  It abandons the typical escalating-events-that-crescendo-into-a-specific-climax type storytelling; one that traditionally would spoil the movie after the first viewing or reading about the ending.  The quality of this movie doesn't rely on the nature of its subject matter.
256288
Director Adrian Lyne (Fatal Attraction, Lolita, Jacob's Ladder) delivers the woman's view of infidelity and the consequences with unnerving and beautiful precision. Diane Lane, a should be Oscar contender if not winner, delivers her finest performance as the surburban housewife seduced by the seductive stranger Olivier Martinez. Every moment of tension, including the breathless train ride home that exhibited Diane Lane's finest hour, was captured and its essence poured over you like honey from a well that shall never run dry. Gere, in his understated role, was just brilliant as the jilted husband. Deceptively, the director makes the audience the deciding factor at the ending drawing on their own morality rather the writer or the director's. Some have despised it as without closure. Unlike Fatal Attraction--the unreleased ending the better--that had to have closure, Unfaithful just reminds us of how human we really are and if we should follow even our faintest desires. Perhaps more than that, the film says we should make every moment count between lovers lest one should stray into the arms of another. -Felecia Constance Rowe, Chairwoman, Teardropfilms Entertainment Corporation.
2755795
This enthralling movie is based on the book of the same name, and follows directly after the first movie, The Hunger Games. Inspired by the myth of Theseus and the Minotaur, it continues the story of a country named Bread (seriously, Panem is the Latin word for bread), and the worlds most unfortunate lottery.

Not a lot can be said about the plot without giving away too many spoilers. Lets summarize by saying that by not dying in the first movie, Katniss and Peeta accidentally started a rebellion against the government. They are forced into an even more cruel version of the Hunger Games, while outside the thunder dome, everyone is playing the same game - with higher stakes. There are moves and countermoves, and nobody is quite sure what anybody else is doing or why.

The script follows the book pretty closely, and gets all the major plot points right, even though this makes the movie over two hours long (dont worry - the last book is being turned into two movies). I was especially happy that they didn't soften Katniss up and turn the movie into an actual romance, and that they didn't shy away from showing some of the violent scenes (like the first movie did).

It was directed by Francis Lawrence, who usually directs music videos. He didn't direct The Hunger Games, but he did direct the Keanu Reeves vampire flick Constantine, and the Will Smith zombie flick I Am Legend. Oh, and he got an award for making Lady Gagas Bad Romance video. And he does a great job with this movie - Im glad hes already been hired to direct the next two movies. In addition, the acting is great, the script is tight, and the action mixes with politics in the right amounts. Besides these big issues, however, one of the biggest strengths of the film is the way it gets the little details just right - the country of Panem and its cultures seem real. Through dialogue and scenery, you get little glimpses of traditions and events that are unfolding off screen, in other times. You are woven into the fabric of the tale, instead of watching a flat story. Its hard to explain this, but its one way I can identify a high-quality movie - and this movie has it in spades.

Its weird, but another sign of a good movie is how everybody can relate to it. On one hand, Democrats have been claiming that the movie is pretty obviously a criticism of our countrys widening economic gap, and how social justice doesnt usually come from the privileged class. On the other hand, Republicans and Tea Partiers claim the movie is obviously about how Obama sucks and how his government is corrupt and ready to be taken down.

I was a fan of The Hunger Games when it was released, and I was nervous that this movie would be ruined. It turns out that Catching Fire is one of those rare sequels that is better than the first movie.
4097054
Aileen (Charlize Theron) has lived most of her life waiting to be discovered in a similar way to Marilyn Monroe, but this never happened. She ended up blowing guys for five bucks in the back seat of their cars, living out of a storage room, taking baths in the sinks of public restrooms and trying to survive. She has really nothing to cheer her up, until one day she walks into a gay bar and meets Selby (Christina Ricci). They quickly become friends and even more, but not before Aileen recanted some statements she made due to her being a compulsive liar.

When things go south with one of her clients, Aileen ends up killing the man after being brutally abused. From that point on we can see her rage towards her clients and her desire to "punish" them for being what they are. Or maybe she is angry with herself for having to do this job and takes it out on them. She does try to change paths though, mainly due to her love for Selby. She wants to take care of her partner's need, but finds no help whatsoever when looking for a job. So, back to the old work...and hello serial killer.

There are several things about this movie that make it brilliant, with Theron's performance right at the top of the list. For an actress that is usually involved in representing classy and beautiful women, it must be a real challenge to play the role of Aileen. Part of the credit has to go to the make-up artists though, who made possible an incredible transformation.

The other point that I think is worth mentioning is the quality of the script, since the story takes us inside the mind of the serial killer. It is fascinating to understand the motives and reasons behind her actions. I can understand though that people that have been touched by the effects of Wuornos' crimes are not interested in this and may resent it. Also, I am not sure about how much of what is presented is fiction. In my mind, even if part of the "facts" presented are fiction, this movie is a high quality creation and a very interesting option to consider the next time you plan to sit in front of the TV for a couple of hours.
1941741
One of my favorite movies of all time (and favorite books) is the Shipping News (based on the book by E. Annie Prouxl). Each time I watch it, I come away with a new understanding of what makes it good.

The story is about a man who had no breaks in life. He says he can remember thinking he was born to the wrong family, and that one day, his true family would rescue him from the one that he had. You can't blame him for feeling that way, he had a father that, to teach him to swim, threw him into the lake until he almost drowned. What kind of father can watch his child flounder in the water like that, in a panic, going under, gasping for air? But anyway, Quoyle (the main character acted by Kevin Spacey) survives his childhood only to grow up into a dreamlike existence, where he finds no happiness and nothing to live for. He fulfills his father's prophecies for him by dropping out of college and moving from dead-end job to dead-end job. Things begin to change for him when this crazy woman, "Petal" (acted superbly by Kate Blanchett) gets into his car at a gas station in order to leave her boyfriend with whom she's having a fight. She tells Quoyle to drive off, they go to a diner, and she talks about herself while Quoyle stares at her in wonder. What DOES he find so wondrous, you'll ask yourself? Anyone can see that this woman is trash. (And later events really do confirm this judgement.) But I think what Quoyle sees in her, is that she has something he doesn't have. She is so very alive. She is sensual--and I mean more than in a sexual way, she eats as if everything is the best thing she's ever tasted. She does what she pleases in life as if there is no one but her. She notices Quoyle staring at her and says to him, "You want to marry me, don't you?" And, after a romp in bed, he blurts out that he loves her. He loves her. And they marry and she is soon pregnant. She doesn't want anything to do with her child. Quoyle is the one who takes care of her while Petal continues her wild ways, including bringing men home to her bed. And what does Quoyle of the rubber backbone do after a night when Petal has done just that? Asks her, "Did your friend leave?" Yes, you'll cringe to see Quoyle accept this kind of treatment from Petal, but it just goes to show how hopeless he is.

Things turn around when an aunt (Judi Dench) that he never knew steps into his life, and they go to New Foundland together (the land of Quoyle's ancestors). Quoyle who used to be a printsetter at the paper in his old town, gets a job as a journalist for the little town's newspaper. A job he doesn't really think he can do, but has no choice. He has to write stories about car accidents, when there are no fishing stories, and in order to sell papers learns to turn dull stories into alluring headlines. Soon, everything that happens in this town in New Foundland holds a germ of a story idea for Quoyle and evokes great headlines as well. Little by little you see Quoyle begin to step out of his dream-like stupor and grow strong. One of my favorites lines in the movie comes after Quoyle writes an article about a nazi boat. It's probably the first time he is ever praised by anyone. He proclaims to himself, "Lumbering Idiot Stuns Crowd for a change." And you want to cheer.

I like this movie because to me it's a testament of hope that no matter what your beginnings are in life, no matter what your mistakes, you can overcome. You can be better. You can be somebody. You can be happy.  I've probably given enough away, but check out The Shipping News. (And try the book too!)
4730514
Hollywood just can't leave well enough alone. Way back in 1925 Somerset Maugham wrote a truly forward-thinking feminist story about a vapid woman who comes to realize there's more to life than the empty fun that she's always craved and been led astray by. Ever since, Maugham's ending has been twisted by filmmakers to make it a second-chance-at-love romance. This version even adds a little Chinese political subplot that was entirely absent from the book. So the Chinese background gets modernized, while women are thrown back into love story land in the last reel.  So it goes.

But when a movie is this well put together, who cares?  The screenplay--despite my quibble with the direction the end takes--is very sharp.  The scenery is magnificent, and the acting is stellar.  Naomi Watts captures Kitty Fane's vapidity and makes her not just understandable but sympathetic.  Edward Norton is likewise great as her husband Walter, a man who in his anger at being cheated on decides to take them both on a suicide mission to a cholera-plagued area.  The supporting cast is excellent--especially Toby Jones and Diana Rigg.

The movie holds up to repeated viewings because the performances are so good, and the mood created by the director is mesmerizing.  Music plays a big part in its success.  The selective use of a piano piece by Satie is enhanced by a score that sounds as if Satie had composed the whole thing.  I actually scrambled to find out whether the waltz featured in the score was Satie's--it wasn't.  Just beautiful.

It's sad that movies like this don't meet with more success in the movie theaters.