Tomato |
Army of Shadows (1969) |
"It took decades for the film to be rediscovered, reassessed and proclaimed a masterpiece." |
Sean Axmaker |
Tomato |
Back From Eternity (1956) |
"... John Farrow's 1956 aviation disaster thriller turned jungle survival drama is in fact a faithful remake of the director's own 1939 Five Came Back." |
Sean Axmaker |
Tomato |
Ballad of a Soldier (1959) |
"... a simple, poetic tale where the sentimental streak and patriotic idealism common to the Soviet formula is humanized with vivid characters and tender direction." |
Sean Axmaker |
Tomato |
Bedtime for Bonzo (1951) |
"... you might be surprised to discover that the modest little comedy is actually an enjoyable piece of light entertainment." |
Sean Axmaker |
Tomato |
Berlin Alexanderplatz (1983) |
"Rainer Werner Fassbinder's fifteen-hour-plus adaptation of Alfred Döblin's novel, one of the most revered classics of German literature, is the German auteur's most lavish and complex production ever." |
Sean Axmaker |
Tomato |
Billy Liar (1963) |
"... this portrait of ambition aching to break out of suffocating conformity and social expectation is viewed through the prism of fantasy and puckish humor..." |
Sean Axmaker |
Splat |
The Black Hole (1979) |
"The science of this fiction is as hokey as the drama, but the imaginative art design and excellent special effects are magnificent." |
Sean Axmaker |
Tomato |
Calcutta (1947) |
"The most startling aspect of the production is the extreme poverty and squalor that he captures with his camera." |
Sean Axmaker |
Tomato |
Carnal Knowledge (1971) |
"... an acerbic and, in many ways, dispiriting portrait of masculinity and male sexuality in the post-World War II culture." |
Sean Axmaker |
Splat |
Contact (1997) |
"With all the science and technology, Zemeckis and the writers made room for spiritual debates (some of them painfully slight), political commentary, and a strangely tepid and inert romance..." |
Sean Axmaker |
Splat |
The Dark Past (1949) |
"... a minor noir notable largely for Holden's uncharacteristically feral performance..." |
Sean Axmaker |
Tomato |
Death of a Cyclist (1955) |
"Imagine a Michelangelo Antonio drama of upper class disaffection by way of a film noir..." |
Sean Axmaker |
Tomato |
Le Deuxieme Souffle (1966) |
"Le Deuxieme Souffle is at heart a romantic fantasy of underworld loyalty and lives of calculated risk and violence anchored by brilliantly staged and shot set pieces..." |
Sean Axmaker |
Splat |
Devil Dogs of the Air (1935) |
"It's really a showcase for Cagney's cocky charm and smart-aleck attitude..." |
Sean Axmaker |
Tomato |
Diva (1981) |
"... Beineix directs with a visual cleverness and a witty playfulness that tells the audience to hang back and have fun." |
Sean Axmaker |
Tomato |
East of Eden (1955) |
"East of Eden is set in 1917 but [James] Dean feels completely modern and contemporary, a boy not quite comfortable in his body." |
Sean Axmaker |
Tomato |
Eat Drink Man Woman (1994) |
"The study of social manners and suppressed feelings became Lee's specialty." |
Sean Axmaker |
Tomato |
The Elusive Corporal (1962) |
"The tone is light and the repeated escape attempts are played with a comic undertone, yet behind the humor is the feeling of dignity lost..." |
Sean Axmaker |
Tomato |
The Explosive Generation (1961) |
"... an early celebration of social protest from the youth generation." |
Sean Axmaker |
Tomato |
The Fall of the Roman Empire (1964) |
"... surely the most magnificent period piece of its era." |
Sean Axmaker |
Tomato |
FAUST (1926) |
"Faust is a tragedy drawn in magnificent images like paintings in light and shadow and is one of the most breathtakingly beautiful of Murnau's German films." |
Sean Axmaker |
Tomato |
Fires on the Plain (1959) |
"... a grim and gruesome and at times macabre autopsy of its (selectively Japanese) victims." |
Sean Axmaker |
Tomato |
Five (1951) |
"For all of his budgetary limitations, it's a strikingly atmospheric and handsome film and [Arch] Oboler creates an eerie sense isolation with simple techniques." |
Sean Axmaker |
- |
Francis the Talking Mule (1950) |
Click here to see the review. |
|
Tomato |
Great Expectations (1946) |
"Lean fills Great Expectations with a wealth of visual detail and vivid characters and personalities... and he directs with a warmth and humor..." |
Sean Axmaker |
Tomato |
Gumshoe (1972) |
"... the first feature by Stephen Frears is an unheralded gem of a film." |
Sean Axmaker |
Tomato |
Gung Ho! (1943) |
"... the film moves from the familiar cliches of platoon drama character vignettes to the sinewy action scenes of the invasion." |
Sean Axmaker |
Tomato |
His Picture in the Papers (1916) |
"Less a story than a succession of comic set pieces defined by Fairbanks' athleticism and unbridled joie de vivre..." |
Sean Axmaker |
Tomato |
I Am Cuba (1964) |
"Politics, propaganda and poetry are whipped into an exotic cinematic cocktail in Mikhail Kalatozov's delirious tribute to the Cuban revolution..." |
Sean Axmaker |
- |
I Am Curious (Blue) (1968) |
Click here to see the review. |
|
Tomato |
I Was Born, But... (1932) |
"Behind the deft comedy and spirited performances of the two boys is a rather somber engagement with the compromises adults make to the demands of the social order." |
Sean Axmaker |
Tomato |
Iron Horse (1924) |
"It's the atmosphere that Ford captures so beautifully, from the location shooting to the labor and process of clearing land and laying track." |
Sean Axmaker |
Tomato |
J'Accuse (1919) |
"The epic drama is angry and tender and horrifying and touching, all of it conveyed by [Abel Gance's] powerful and delicate imagery and sophisticated techniques." |
Sean Axmaker |
Tomato |
Jubal (1956) |
"This is less Shakespeare than Hollywood melodrama in chaps and Daves was a seasoned hand at both genres." |
Sean Axmaker |
Tomato |
Junior Bonner (1972) |
"... a gentle character study and a lyrical portrait of family, respect and integrity in the face of adversity." |
Sean Axmaker |
Tomato |
Konga (1961) |
"Konga is a giant ape movie to be sure but Gough's Dr. Decker is a mad scientist in the mode of Peter Cushing's Dr. Frankenstein from Hammer's series..." |
Sean Axmaker |
Tomato |
Kundun (1997) |
"Kundun is surely the most gentle and meditative of Scorsese's films, a placid biography with the scope of an epic, the quality of a storybook, and the dramatic stakes of a tragedy." |
Sean Axmaker |
Tomato |
La Marseillaise (1937) |
"... the heady, idealistic days of the French Revolution as seen from the street, through the eyes of an idealistic group of Republicans from Marseilles..." |
Sean Axmaker |
Tomato |
The Ladies Man (1961) |
"...it's hard not to be awed by the technological leaps of this production, and at their best his gags delve in to the realm of the surreal last visited by the Marx Brothers." |
Sean Axmaker |
Tomato |
Last Year at Marienbad (1961) |
"... a tantalizing mystery and a work of cinema as intricately faceted as a jewel." |
Sean Axmaker |
Tomato |
Les Miserables (1935) |
"... the most respected and revered screen adaptation..." |
Sean Axmaker |
Tomato |
Little Fugitive (1953) |
"... the film runs largely on charm, but Engel's eye for people and landscape and social activity gives it a vibrancy that is still compelling." |
Sean Axmaker |
Tomato |
Magnificent Obsession (1954) |
"[Douglas] Sirk never denies the overwrought emotions and mawkish sentimentality; he pours on the exaggeration and irony in equal doses." |
Sean Axmaker |
Tomato |
Mala Noche (1985) |
"The film is a study in infatuation and rejection, euphoria and frustration, and Van Sant observes their dance of desire and dismissal and wary coexistence without judgment." |
Sean Axmaker |
Tomato |
Mamma Roma (1962) |
"... draws from the neo-realist tradition, but Pasolini goes beyond the tradition to play with the form and structure." |
Sean Axmaker |
Tomato |
The Man Between (1953) |
"Shooting on location in Berlin, [Carol] Reed makes evocative use of the city." |
Sean Axmaker |
Tomato |
A Married Woman (1964) |
"... at the time it was one of Godard's most critically acclaimed films and remains one of the most financially successful films of his career." |
Sean Axmaker |
Tomato |
Mean Streets (1973) |
"Passionate, energetic, stylistically inventive and personally driven, it is the first mature, full blooded "Martin Scorsese Film."" |
Sean Axmaker |
Tomato |
A Modern Musketeer (1918) |
"Fairbanks is as charming as can be with a smile as big as all outdoors and a can-do spirit..." |
Sean Axmaker |
Tomato |
Murder in the Private Car (1934) |
"... a lightweight programmer with a capricious attitude toward plotting and a script unencumbered by logic." |
Sean Axmaker |
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