The Invisible Man
The Way Back
Blow the Man Down
Better Call Saul
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One of the most stressful thrillers I've ever seen and yes that's a compliment. Sandler fundamentally understands this character in a way a lot of other actors wouldn't. Every choice, every emotional plea, every joke is literally a gamble to him. Nothing is done if there isn't risk involved.
A gorgeously filmed Gothic horror piece. It is a shame the movie so blatantly disregards its own internal logic and rules in the end but by that point you're so thoroughly hypnotized by all of the billowing curtains and Deneuve's presence that you may not care.
Yeah, I get what von Trier is getting at here and I suppose I can appreciate Matt Dillon's admittedly fantastic performance. However, the movie is often deeply unpleasant and also intermittently boring.
Hawks emphasizing character over plot has the effect of enhancing the danger of the flying sequences. You're just never sure who is going to survive.
It may be a little too long with too many self important monologues but Treat Williams gives such an outstanding emotionally fraught performances that you'll forgive the flaws.
Italian politics remain something of a difficult subject for film as it's endlessly confusing. Sorrentino narrows the focus just enough here to give you a sense of the chaotic depths of the corruption even if Andreotti remains an enigmatic figure at the end.
Mostly a mixed bag narrative wise, but Howard does stage enough effectively harrowing race sequences to warrant a viewing.
Wertmüller almost lulls you into a false sense of security with the romance that develops but the brutal ending undercuts that. The idea here is that the political reality of Fascist Italy turned lots of lovable dopes into radicals and/or victims and the movie functions as an appropriately sad ode to those men and women.
Historical accuracy be damned. The surreal imagery, camp performances, weird little comedic bits, and Dietrich are the reasons to see this.
The most audacious thing here is that Wertmüller allows the central character to be neither a saint nor even just a regular person, he's a cad, a liar, and a murderer who survives WWII by doing so much worse.
One of the craziest screwball comedies ever made. Preston Sturges appears to have pitted Eddie Bracken and Betty Hutton in a contest to see which of them could be the most hysterical in any of their scenes together (spoiler, its always Bracken).
It's an ingeniously constructed thriller. Kurosawa's obsession with the small details here pay off in unexpected ways (i.e. the single use of color in an otherwise black and white film).
A deeply complex epic that avoids the often cheep romanticizing you get from similar films made during WWII. Certain sequences (i.e. the duel) are way ahead of anything else being made at this time.
More fun than I anticipated. Yeah its kind of a mess but the movie embraces its full tilt weirdness in ways that are a little surprising.
An important milestone for special effects but there's not much else to keep it all that engaging anymore.
The movie gets undermined by its overabundance of characters and melodrama as if the filmmakers didn't trust the core of the story to be dramatic enough.
Wertmuller made something genuinely confounding here with class and gender dynamics colliding in the strangest ways. I often found it shocking yet still engaging although I wouldn't blame anyone who couldn't stomach the movie.
The action sequences vary in quality but there are moments that feel new and even a little transgressive, which is surprising.
Appropriately angry as it is one of the definitive films of the British New Wave. Tom Courtenay gives a hell of a performance, especially with his eyes.
A joyously funny Feminist re-examination of Dickinson's personal life.