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Beethoven's Great Love (1936) |
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"Easily the best of Gance's talkies, the film's creative élan scarcely wavers even at its most leadenly dramatic." | |
Fernando F. Croce | |
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The Bourne Ultimatum (2007) |
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"Damon's involuntary flair for springing into an ***-whopping whirlwind is rivaled by his gift for staring into space and projecting smudged flashbacks onto his eyelids." | |
Fernando F. Croce | |
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The Devil Strikes at Night (1957) |
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"If Siodmak was less a determinist than Lang, he was also less icy -- he views the fall-guy ordeal of piggy, pathetically lecherous officer Werner Peters with characteristic sympathy." | |
Fernando F. Croce | |
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Fando y Lis (1967) |
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"Very much a late '60s freakout, tricked out with car cemeteries and action painting in the nude, the movie is fake-profound but seldom dull." | |
Fernando F. Croce | |
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Immoral Mr. Teas (1959) |
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"As the clothes evaporate, Meyer wisely sits back and appreciates the show." | |
Fernando F. Croce | |
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La Silence De La Mer (1947) |
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"Jean-Pierre Melville's great, too little-remembered debut, and a classic example of circumstance leading to aesthetic advance." | |
Fernando F. Croce | |
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The Left-Handed Gun (1958) |
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"A close, inspired study of Ford and Nicholas Ray, and a decisive source of inspiration to Peckinpah, Malick, and Penn himself, who looked at it again and saw Bonnie and Clyde." | |
Fernando F. Croce | |
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Les Enfants Terribles (1950) |
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"The tension is between heightened whimsy and its vérité settings, or, more specifically, between Jean Cocteau's writing (an adaptation of his 1929 novel) and Jean-Pierre Melville's direction." | |
Fernando F. Croce | |
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Mademoiselle Fifi (1943) |
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"One of the few non-thrillers in the oeuvre of producer-auteur Val Lewton, this period piece shows even more glaringly how close his celebrated taste and intelligence could skirt to outright stodginess." | |
Fernando F. Croce | |
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Man of Aran (1934) |
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"The film is a canny blend of observation and creation." | |
Fernando F. Croce | |
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Moana (1926) |
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"Flaherty catches it all by coming up with the needed stylistics as the occasions arise." | |
Fernando F. Croce | |
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The Niklashausen Journey (1970) |
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"Fassbinder suggests a temporal continuum of thwarted upheaval that can only be addressed (and, thus, confronted) by way of frontal artistic attack." | |
Fernando F. Croce | |
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Parade (1973) |
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"A distillation not of Jacques Tati per se, but of communal spectacle, creativity and creation, simply -- hence, cinema." | |
Fernando F. Croce | |
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Rio das Mortes (1971) |
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"This mostly forgotten entry of Rainer Werner Fassbinder's early futzing-around period feels unaccountably close to an American road-trip comedy." | |
Fernando F. Croce | |
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Santa Sangre (1990) |
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"Unforgettable, whether you like it or not." | |
Fernando F. Croce | |
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Thriller - A Cruel Picture (1974) |
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"Lindberg executes the vengeance audiences came to cheer, and spiritually dissolves." | |
Fernando F. Croce | |
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