|
4/4
|
88%
|
Certified Copy (Copie Conforme) (2011) |
"
Abbas Kiarostami's Certified Copy doesn't defy you to understand it, and yet it feels almost inappropriate, tasteless even, to do so-as if you were eavesdropping on a private conversation."
—
Slant Magazine
Posted Sep 22, 2010
|
|
4/4
|
100%
|
I Am Cuba (Soy Cuba) (1995) |
"
I Am Cuba is a cinephile's wet dream, a collage of Herculean feats of technical wizardry that would be easy to dismiss if it wasn't so humane."
—
Slant Magazine
Posted Nov 17, 2007
|
|
4/4
|
——
|
Sibiriada (Siberiade) (1979) |
"
Prone to poetic abstraction and exuding a magical-realist's reverence for history."
—
Slant Magazine
Posted Jan 6, 2007
|
|
4/4
|
72%
|
Inland Empire (2006) |
"
The Atlas Shrugged of narrative avant-garde films, compulsively watchable and insanely self-devouring."
—
Slant Magazine
Posted Oct 2, 2006
|
|
4/4
|
100%
|
La Chute de la maison Usher (The Fall of the House of Usher) (1928) |
"
Through kaleidoscopic composition, Epstein affects Rorschach-like chiaroscuro, every image a dense, sludgy viscera, a looking glass held up to the audience and characters, daring us to pass through."
—
Slant Magazine
Posted Sep 13, 2006
|
|
4/4
|
90%
|
Pandora's Box (1929) |
"
This is a stirring vision of the world gripped by a sinister moral vice--a nosedive into a carnal abyss of despair lined with visionary chiaroscuro sights and thorny mythological references."
—
Slant Magazine
Posted Jun 2, 2006
|
|
4/4
|
——
|
Herr Arnes pengar (Sir Arne's Treasure)(Snows of Destiny)(The Three Who Were Doomed) (2002) |
"
A landmark of the silent film era, Sir Arne's Treasure is the spiritual cousin of Greed and Sunrise."
—
Slant Magazine
Posted Jun 2, 2006
|
|
4/4
|
100%
|
Repulsion (1997) |
"
Its two-way prism of audio-visual embellishments intuits a woman's fractured psyche and catches super-cool flashes of the audience's perverse cine-desires."
—
Slant Magazine
Posted Apr 14, 2006
|
|
4/4
|
95%
|
The Best of Youth (La meglio gioventù) (2003) |
"
This epic elegy to family and country is a towering work of narrative fiction."
—
Slant Magazine
Posted Feb 5, 2006
|
|
4/4
|
61%
|
The New World (2005) |
"
The exquisiteness of The New World and how it reveals itself to its audience is flabbergasting...like a heretofore unknown cave painting impeccably preserved except for a few spots here and there eroded by time and nature."
—
Slant Magazine
Posted Dec 16, 2005
|
|
4/4
|
97%
|
Pickpocket (1959) |
"
Every image in Pickpocket evokes the director's idea of the soul in transition."
—
Slant Magazine
Posted Nov 10, 2005
|
|
4/4
|
100%
|
The Young One (Island of Shame) (White Trash) (La Joven) (1960) |
"
Poets have said that eyes are the windows to the soul, but Luis Buñuel believed that our legs and feet revealed more about us than any other parts of our bodies."
—
Slant Magazine
Posted Nov 8, 2005
|
|
4/4
|
86%
|
L'Enfant (The Child) (2006) |
"
A miracle."
—
Slant Magazine
Posted Sep 20, 2005
|
|
4/4
|
100%
|
Fury (1936) |
"
Lang's first English language film seemed to anticipate the horrors at Abu Ghraib as far back as 1936."
—
Slant Magazine
Posted May 11, 2005
|
|
4/4
|
——
|
Hindle Wakes (2005) |
"
A remarkable synthesis of proto-feminist ideals and visionary aesthetics."
—
Slant Magazine
Posted Apr 24, 2005
|
|
4/4
|
97%
|
To Be or Not to Be (1942) |
"
To Be or Not to Be's wit continues to be overshadowed by its touchy plot."
—
Slant Magazine
Posted Feb 23, 2005
|
|
4/4
|
88%
|
Bad Education (La Mala educación) (2004) |
"
Almodóvar's canvas-like that of another hot-blooded drama queen, Federico García Lorca-is one of uncensored emotion and pure energy."
—
Slant Magazine
Posted Oct 6, 2004
|
|
4/4
|
100%
|
Simón del desierto (Simon of the Desert) (1965) |
"
Simon of the Desert's little Bible stories are twisted evocations of the dumbing down of faith by postmodern Christian anxieties and hang-ups."
—
Slant Magazine
Posted Sep 3, 2004
|
|
4/4
|
100%
|
The Life of Oharu (Saikaku ichidai onna) (1952) |
"
The spiritually complete Life of Oharu represents the Holy Grail of Japanese cinema."
—
Slant Magazine
Posted Aug 1, 2004
|
|
4/4
|
88%
|
The Leopard Man (1943) |
"
There's a certain multi-cultural conflict that distinguishes the Lewton-Tourneurs."
—
Slant Magazine
Posted Jul 3, 2004
|
|
4/4
|
79%
|
Zhantai (Platform) (2000) |
"
A laconic portrait of a remote Chinese city in arrested development."
—
Slant Magazine
Posted May 23, 2004
|
|
4/4
|
100%
|
Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) (1957) |
"
A deeply humanistic proclamation of the power of faith."
—
Slant Magazine
Posted May 23, 2004
|
|
4/4
|
100%
|
The Shooting (1967) |
"
Doesn't ask to be taken as an existentialist mechanism per say, though it certainly functions as one."
—
Slant Magazine
Posted May 15, 2004
|
|
4/4
|
100%
|
A Brighter Summer Day (2011) |
"
A Brighter Summer Day is itself in color, but it may as well be monochrome."
—
Slant Magazine
Posted Apr 4, 2004
|
|
4/4
|
100%
|
Foolish Wives (1922) |
"
Foolish Wives is disillusionment Von Stroheim style. "
—
Slant Magazine
Posted Mar 23, 2004
|
|
4/4
|
43%
|
Twentynine Palms (2004) |
"
Dumont is clearly fascinated by America's wide-open spaces, and much of Twentynine Palms is a love poem to the way we look at the world."
—
Slant Magazine
Posted Feb 27, 2004
|
|
4/4
|
83%
|
Zemlya (Earth) (Soil) (1930) |
"
In Aleksandr Dovzhenko's orgiastic paean to Soviet collectivism and tractor-ism Earth there is nothing more beautiful than the untainted countryside."
—
Slant Magazine
Posted Feb 3, 2004
|
|
4/4
|
85%
|
Blow-Up (1966) |
"
Blowup daringly suggests that an image without politics isn't an image at all."
—
Slant Magazine
Posted Jan 30, 2004
|
|
4/4
|
86%
|
Ace in the Hole (The Big Carnival) (1951) |
"
Not unlike Fritz Lang's equally misanthropic Scarlet Street, Ace in the Hole plays the squashing of one man's human spirit for societal-weary gravitas."
—
Slant Magazine
Posted Jan 19, 2004
|
|
4/4
|
92%
|
Masculin Feminin (1966) |
"
Not only does Paul's battle with Madeleine represent a war between the sexes, but a clash between disparate philosophical and moral beliefs."
—
Slant Magazine
Posted Dec 29, 2003
|
|
4/4
|
94%
|
Lat sau san taam (Hard-Boiled) (1992) |
"
A master stylist, Woo is similarly brilliant at examining the moral and social hierarchies of his patriarchal crime worlds."
—
Slant Magazine
Posted Dec 27, 2003
|
|
4/4
|
83%
|
Underground (1995) |
"
Emir Kusturica's tragic-farce Underground may be the most important film of the last 25 years."
—
Slant Magazine
Posted Dec 21, 2003
|
|
4/4
|
95%
|
Céline et Julie Vont en Bateau (Celine and Julie Go Boating) (1974) |
"
Jacques Rivette's spry and intoxicating 1974 comedy Celine and Julie Go Boating observes the way women look at each other, themselves, and the world around them."
—
Slant Magazine
Posted Dec 11, 2003
|
|
4/4
|
77%
|
Big Fish (2003) |
"
Big Fish is love and death, Burton style."
—
Slant Magazine
Posted Nov 23, 2003
|
|
4/4
|
93%
|
Freaks (1932) |
"
Browning uses the film's famous "Wedding Feast" sequence and its rhythmic use of montage to fantastically blur the lines between the normal and the abnormal."
—
Slant Magazine
Posted Oct 29, 2003
|
|
4/4
|
70%
|
The Company (2003) |
"
This elegant movement in still life unravels as a profound metaphor for both the filmmaking process and life itself."
—
Slant Magazine
Posted Oct 17, 2003
|
|
4/4
|
87%
|
Mystic River (2003) |
"
A somber evocation of a poor, close-knit section of Boston on the brink of moral collapse."
—
Slant Magazine
Posted Oct 1, 2003
|
|
4/4
|
100%
|
Shoah (1985) |
"
Lanzmann builds the past using tools that exist only in the present, summoning an unfathomable catastrophe with the voices and memories of survivors."
—
Slant Magazine
Posted Sep 29, 2003
|
|
4/4
|
70%
|
Dogville (2003) |
"
This acerbic "illustration" of a small town's curious notions of entitlement unspools as a Christian allegory by way of Mark Twain or Dr. Seuss."
—
Slant Magazine
Posted Sep 27, 2003
|
|
4/4
|
86%
|
Yeelen (Brightness) (1987) |
"
It's a sign of true genius that a director can summon the rise, fall and subsequent rebirth of the cosmos with such a profound understanding and respect for the shape of things."
—
Slant Magazine
Posted Sep 21, 2003
|
|
4/4
|
100%
|
That Obscure Object of Desire (1977) |
"
From Un Chien Andalou to That Obscure Object of Desire, Luis Buñuel spent almost 50 years cataloging the frustrated romantic desires of his characters."
—
Slant Magazine
Posted Sep 17, 2003
|
|
4/4
|
88%
|
Le Fantôme de la Liberté (The Phantom of Liberty) (The Specter of Freedom) (1974) |
"
This heady masterwork isn't particularly easy to decipher, but it's best approached as the literal comedy of manners Buñuel intends it to be."
—
Slant Magazine
Posted Sep 13, 2003
|
|
4/4
|
98%
|
The Discreet Charm Of The Bourgeoisie (Le Charme Discret de la Bourgeoisie) (1972) |
"
Buñuel repeatedly takes on the gross presumptuousness of his characters--their unwillingness to admit defeat and to take things only at face value."
—
Slant Magazine
Posted Sep 13, 2003
|
|
4/4
|
——
|
Que Viva Mexico (Que Viva Mexico! - Da zdravstvuyet Meksika!) (1979) |
"
Alexandrov's interpretation of the Eisenstein's Que viva Mxico! becomes rather slippery when analyzed using an auteurist model."
—
Slant Magazine
Posted Sep 10, 2003
|
|
4/4
|
95%
|
Belle de Jour (1968) |
"
A radical work that both looks back at the director's own early surrealist cinema and anticipates the work of David Lynch."
—
Slant Magazine
Posted Sep 9, 2003
|
|
4/4
|
85%
|
Diary of a Chambermaid (Le Journal d'une femme de chambre) (2000) |
"
The Diary of a Chambermaid was a crucial turning point in Luis Buñuel's career because it would officially usher in the French period of the director's later years."
—
Slant Magazine
Posted Sep 8, 2003
|
|
4/4
|
95%
|
El Ángel Exterminador (The Exterminating Angel) (1967) |
"
If not necessarily Buñuel's greatest film, this unclassifiable creation must count as one of the most twisted stunts ever mounted for the screen."
—
Slant Magazine
Posted Sep 7, 2003
|
|
4/4
|
92%
|
Millennium Actress (Sennen joyû) (2001) |
"
Behold Millennium Actress, Satoshi Kon's anime answer to Mulholland Drive."
—
Slant Magazine
Posted Sep 4, 2003
|
|
4/4
|
86%
|
Martha (1974) |
"
Easily the most twisted film of Rainer Werner Fassbinder's career, Martha (a favorite of his frequent cinematographer Michael Ballhaus) catalogs the tyrannical hold a bourgeois husband has over his wife."
—
Slant Magazine
Posted Sep 2, 2003
|
|
4/4
|
100%
|
Whity (1971) |
"
Though the genre-blasting Whity sees Fassbinder toying with classic western conventions and trying to subvert distinctly American forms of racism, the moral catastrophes the director exposes are nonetheless played for a world-weary pathos and unive"
—
Slant Magazine
Posted Sep 2, 2003
|
87%
22%
90%
