|
95%
|
5 Broken Cameras (2012)
|
"... a mix of citizen journalism and social memoir. "
|
Sean Axmaker
|
|
98%
|
Silent Souls (2011)
|
"... slow and introspective, paced in long, still shots that seem to drift in time rather than march forward. "
|
Sean Axmaker
|
|
——
|
Faris al-aswas, al- (The Black Knight) ()
|
|
|
|
——
|
Countdown (1968)
|
|
|
|
——
|
Five Steps to Danger (1957)
|
|
|
|
——
|
Common Law Cabin ()
|
|
|
|
60%
|
The Fugitive Kind (2005)
|
|
|
|
60%
|
The Fugitive Kind (2005)
|
|
|
|
60%
|
The Fugitive Kind (2005)
|
|
|
|
——
|
Outrage (1950)
|
|
|
|
0%
|
Casper - A Spirited Beginning (1997)
|
|
|
|
——
|
The Wrecking Crew (1969)
|
|
|
|
——
|
The Golden Chance ()
|
|
|
|
——
|
Indio Black, sai che ti dico: Sei un gran figlio di..(Adios Sabata) (1971)
|
|
|
|
——
|
Indio Black, sai che ti dico: Sei un gran figlio di..(Adios Sabata) (1971)
|
|
|
|
——
|
Night Patrol (1984)
|
|
|
|
——
|
The Brothers Warner (2008)
|
|
|
|
——
|
Love ()
|
|
|
|
——
|
Love ()
|
|
|
|
——
|
Love ()
|
|
|
|
——
|
Wild Zero (2000)
|
|
|
|
——
|
Young, Violent, Dangerous (Liberi armati pericolosi) (1983)
|
"These aren't angry rebels without a cause, they are thrill killers without motivation. "
|
Sean Axmaker
|
|
83%
|
Come Blow Your Horn (1963)
|
"... like a cartoonish fantasy of the Mad Men sensibility of philandering men who treat the female sex as a buffet for their perusal. "
|
Sean Axmaker
|
|
——
|
La Visita (The Visitor) (1966)
|
"... neither satire nor romantic comedy... [it] offers a much more layered and unexpected portrait in disappointment and resigned concession. "
|
Sean Axmaker
|
|
88%
|
Brief Encounter (1945)
|
"... still embraced as one of the most romantic films ever made, and it has earned its reputation."
|
Sean Axmaker
|
|
71%
|
Blithe Spirit (1945)
|
"... a lightweight comedy built on witty remarks and upper-class smugness (which Rex Harrison so perfectly embodies), but comedy is not Lean's strong suit."
|
Sean Axmaker
|
|
100%
|
This Happy Breed (1944)
|
"It's quite the study in domesticity and acceptance, and it even presents socialist activism and union strikes as some sort of idealistic fling..."
|
Sean Axmaker
|
|
93%
|
In Which We Serve (1942)
|
"... an accomplished, sincere, and moving piece of filmmaking that honors the characters and involves the audience."
|
Sean Axmaker
|
|
——
|
The Nude Vampire (Vampire nue, La) (1974)
|
"... a strange work of conspiracy, family rebellion, and innocence imprisoned, both a vampire film and a strange science fiction fantasy of shadowy old men performing secret experiments."
|
Sean Axmaker
|
|
95%
|
Belle de Jour (1968)
|
"Luis Bunuel's cheerfully brazen satire of sexual repression, social decorum, and erotic fantasies is in the running for Bunuel's kinkiest film, and that's saying a lot."
|
Sean Axmaker
|
|
88%
|
Vanya on 42nd Street (1995)
|
"... a record of a creative collaboration that has a life of its own, at once documentary, filmed rehearsal, play within a play, and private production restaged for a camera..."
|
Sean Axmaker
|
|
100%
|
World on a Wire (2011)
|
"... a heady, witty, stylistically audacious, highly compelling, and very entertaining science fiction thriller years ahead of its time. "
|
Sean Axmaker
|
|
100%
|
Tokyo Drifter (1966)
|
"...plays like a mix of spaghetti western and samurai melodrama relocated to the pop-art splendor of 1960s Japan..."
|
Sean Axmaker
|
|
——
|
No Blade of Grass (1970)
|
"Cornel Wilde's grim, fatalistic end-of-the-world thriller... is a forgotten dystopian classic of its time."
|
Sean Axmaker
|
|
100%
|
Seven Chances (1925)
|
"... Keaton transformed the material into his own brand of humor: from stage farce to snappy cinematic slapstick, with Buster turning verbal jokes into visual gags."
|
Sean Axmaker
|
|
93%
|
The Sunshine Boys (1975)
|
|
|
|
——
|
Two Flags West ()
|
"... an adult and thoughtful production that explores the conflicts of men who are both enemies and allies in the waning days of the Civil War. "
|
Sean Axmaker
|
|
100%
|
Ich will doch nur, daß ihr mich liebt (I Only Want You to Love Me) (1976)
|
"... he brings a morose naturalism to the film even as creates an atmosphere of isolation through the performances. "
|
Sean Axmaker
|
|
83%
|
Shakespeare Wallah (1965)
|
"... a bittersweet drama of the twilight of a theatrical way of life. "
|
Sean Axmaker
|
|
92%
|
Election (1999)
|
"Payne and Taylor are equal opportunity satirists and their sly wit dismantles everything from high school culture to suburban complacency."
|
Sean Axmaker
|
|
——
|
Cigarette Girl of Mosselprom (1991)
|
"... a lightweight, fun-loving romantic comedy set on the bustling streets of Moscow ..."
|
Sean Axmaker
|
|
92%
|
The Four Times (Le Quattro Volte) (2011)
|
"It's both an embrace of the comfort of ritual and certainly and acknowledgement of the magic of the unexpected and the accidental bringing change to routine. "
|
Sean Axmaker
|
|
——
|
Doughboys (Forward March) (1930)
|
"... (Keaton) brings his brand of comic chaos to the front lines of France and manages to turn bad luck into a happy ending in the trench warfare of World War I. "
|
Sean Axmaker
|
|
——
|
Jim Shvante marili svanets (Salt for Svanetia) (1930)
|
"This film doesn't simply record the lives of an alien culture, it dramatizes it with imagery and recreations that turns documentary into drama with a passion."
|
Sean Axmaker
|
|
——
|
Po zakonu (By the Law) (Dura Lex) (Troye) ()
|
"The tension is grueling and the climax is haunting. "
|
Sean Axmaker
|
|
——
|
Extraordinary Adventures of Mr. West in the Land of the Bolsheviks (1924)
|
"... a political cartoon of a Soviet satire that knowingly spoofs American stereotypes of "Bolshevik revolutionaries" through the comically surreal odyssey of the gullible Mr. West..."
|
Sean Axmaker
|
|
83%
|
The 10th Victim (La Decima vittima) (The Tenth Victim) (1999)
|
"Petri directs with tongue firmly in cheek, lampooning the media obsession with high risk contests and games of chance with cool sixties style ..."
|
Sean Axmaker
|
|
33%
|
I corpi presentano tracce di violenza carnale (Torso) (Bodies Bear Traces of Carnal Violence) (1973)
|
"The motivation is right out of the Psycho playbook, only not quite as convincing."
|
Sean Axmaker
|
|
86%
|
Les Valseuses (Going Places) (Getting It Up) (Making It) (1974)
|
"... Blier's portrait of showy machismo, reflexive bad behavior and empty pleasure is his sad commentary on seventies culture."
|
Sean Axmaker
|
|
62%
|
Identificazione di una donna (Identification of a Woman) (1982)
|
"... a film filled with mysteries that are never resolved and images that are simultaneously lonely and lovely."
|
Sean Axmaker
|
72%
77%
61%
52%
26%
4%
