No
Home Movie (2015) – Akerman’s quietly tragic last film creates an almost
ghostly structure of presence and absence, belonging and exile
Equus
(1977) – you can sense the power it once held on stage, but Lumet’s
unpersuasive film version feels in need of a wilder master
Conte
d’hiver (1992) – Rohmer’s return to the concept of life as a Pascalian wager;
not among his greatest works, but entirely fulfilling
Frank
(2014) – Abrahamson successfully conveys the weird beauty of wayward creative
personality, & the fragile allure of living in its orbit
Miracle
in Milan (1951) – De Sica’s weirdo fantasy/reality-denial, for sure not the
movie you’d choose to commemorate Italian neo-realism
Carol
(2015) – Haynes’ enormously engrossing film, a superb filmic expression of
coded behaviour, agonized desire and social entrapment
Wild
River (1960) – one of Kazan’s most richly visualized, often biting films,
beautifully expressing the ambivalence that attends progress
The
Middle of the World (2003) – Amorim’s film is vivid & fluent, packing a
wealth of mood & incident, but its overall impression is modest
Truth
(2015) – Vanderbilt’s study of scandal at CBS News is generally a lightweight
piece of investigation (probably not by ironic design)
Invisible
Adversaries (1977) – Export’s thrilling, disruptive investigation of stagnant
discourse, one of the great films by & about women
Further
Beyond (2016) – Molloy/Lawlor’s impeccably smart yet pleasingly light-spirited
reflection on filmic possibilities and restrictions
The
Blood of Jesus (1941) – Williams’ pioneer film remarkably amalgamates
passionately recorded truths and piercingly imagined beliefs
3
Hearts (2014) - Jacquot’s contrived drama goes down rather too conventionally,
despite various points of structural and tonal interest
The
Stunt Man (1980) – Rush’s tale of healing through Hollywood’s cathartic circus;
often enjoyable but, indeed, more stunt than vision
La
veuve Couderc (1971) – a modest drama, consistently elevated by Granier-Deferre
through a rural texture both nostalgic and disquieting
Our
Brand is Crisis (2015) – as the film lurches to a close, it seems more likely
that Green’s brand is obnoxious, pandering dumbing-down
Billy
Liar (1963) – Billy’s compulsive escape from British stagnancy is
ever-relevant, even if Schlesinger’s film sometimes feels forced
Through
the Olive Trees (1994) – with masterful, open-minded precision, Kiarostami’s
mesmerizing films at once shape & discover their world
Black
Mass (2015) – Cooper’s labored Bulger drama lacks any slash of artistic
distinction or relish, even of the merely gratuitous kind
Panique
(1946) – Duvivier’s well-executed, typically flavourful study of private and
(in a memorable climax) public manipulation
And
God Created Woman (1988) – Vadim’s mechanical remake suggests a director
languishing far from his true time, place and passions
Every
Which Way but Loose (1978) – in its own narrow-parametered way, I guess you
could go with it as a kind of cultural celebration
The
Lady in the Car with Glasses…(2015) – not a bad thriller premise, but swamped
by Sfar’s nervous visual and structural hyperactivity
Light
Sleeper (1992) - Schrader’s study of weary dissatisfaction occupies its own
space, albeit reverberating with echoes of his other work
Yearning
(1964) – another fine Naruse social study/romantic tragedy, again driven by
postwar Japan’s underlying chronic incoherence
Macbeth
(2015) – Kurzel for the most part reduces the play to standard-issue
semi-mythical brooding bloodiness, albeit well-handled as such
Woman
on the Run (1950) – fun to imagine traces of Welles in associate Foster’s tight
little thriller, especially in the vertiginous finale
The
Assault (1986) – Rademakers’ saga of war’s cruel arbitrariness and its
aftermath is largely turgid (in the familiar Oscar-winning way)
Me
and Earl and the Dying Girl (2015) – sometimes Gomez-Rejon delights you; other
times you wish he’d just let the poor girl die in peace
Le
camion (1977) – Duras posits, with gracefully allusive persuasiveness, that
contemplating a film might be as evocative as watching one
Mo’
Better Blues (1990) – Lee’s wonderful film envelops us in jazz world
sensuousness & incident, before withdrawing to more grounded dreams
Sweet
Charity (1969) – the movie has some prime Fosse choreography and strong songs,
but much of it is slack, flashy and over-extended
Mustang
(2015) – Erguven’s chronicle of female oppression; inherently gripping &
stirring, but not particularly cinematically distinguished
The
Ballad of Genesis and Lady Jaye (2011) - Losier’s impressionistic study is just
about as strangely touching as its dreamy title
Un
temoin dans la ville (1959) – Molinaro’s thriller teems with diverse mood &
action, yielding steady if ultimately rather slight pleasures
Remember
(2015) – executed with somewhat more finesse than most of Egoyan’s recent work,
but fundamentally no less unpleasant and ill-judged
Les
fantomes du chapelier (1982) – Chabrol’s interestingly structured exploration
of murder, expertly pollinated with gloomy resonances
The
French Connection (1971) – the classic status hardly seems merited, despite
Friedkin’s gripping car chase and artfully dank emptiness
Sully
(2016) – Eastwood’s absorbingly unfussy blend of well-honed, preoccupied
character study and patient, super-well-mounted spectacle
Voici
le temps des assassins (1956) – Duvivier’s expertly slow-burning thriller
provides a memorable variation on the film noir temptress
Brooklyn
(2015) – pleasant, often well-observed viewing, although it surely wouldn’t
have hurt if Crowley had extended the tonal range a bit
Girlhood
(2014) – Sciamma’s hypnotically empathetic study of friendships and structures,
illuminating intertwined liberations and prisons
A
Matter of Time (1976) – Minnelli’s last film - ambitious & reflective in
its own way, but far less impactful than his earlier masterpieces
The
Shape of Things (2003) – you may doubt how many dimensions LaBute’s shape of
things really has, but it’s still provocative and engaging
Berlin:
Symphony of a Great City (1927) – Ruttmann’s unskeptical awe at the then-new
modernity remains interesting, but hardly stirring now
Life
(2015) – Corbijn recreates a snippet from the James Dean history; well-done in
most respects, but just inherently not very important
Policeman
(2011) – Lapid intelligently plies open some faultlines in Israel’s
self-definition, allowing only the briefest hope of repair
Where
does it Hurt? (1972) – some half-promising satirical elements, but swamped by
Amateau’s leaden handling, and off-putting racism
Freeheld
(2015) – yet another movie in which the material’s inherent worthiness is all
but strangled by shockingly pedestrian story-telling
La
fin du jour (1939) – Duvivier’s melancholy celebration of aging community is a
little soft-hearted, but it’s a forgivable concession
Stranger
than Paradise (1984) – Jarmusch’s irresistible portrait of an America of grand
migrations & quests, but minimal tangible revelation
Une
collection particuliere (1973) – perfectly encapsulating Borowczyk’s
meticulously structural and formal approach to proud lustiness
Heart
of a Dog (2015) – Anderson’s shimmering essay of love and remembrance, winding
with unforced grace between the intimate and the cosmic
Miquette
(1950) – Clouzot in unconventionally zany, winking-at-the-camera mode; not much
sense of passion beneath the artful superficiality
Fear
City (1984) – some mostly straightforward distractions - the later Go Go Tales
is the only Ferrara strip joint movie anyone needs
Knife
in the Head (1978) – Hauff’s imposing trauma drama, positing “craziness” as
perhaps the clearest light on a drably oppressed society
Everest
(2015) – Kormakur’s achingly predictable slog through stale material has lots
of artificial dazzle but little cinematic presence
Love
is Colder than Death (1969) – but it’s hardly worth splitting the difference,
when played out in Fassbinder’s existential wasteland
White Girl in a Blizzard (2014)
– Araki brings all his luminous, frank expressiveness to the material, leaving
no resonance unexplored
La kermesse heroique (1935) – Feyder’s full-to-bursting
comedy, its farcical qualities modulated by profound, intense underlying
anxiety
Amy (2015) – for all Kapadia’s facility, the film is too
easy on the industry’s & audience’s ongoing complicity in such grim case
histories
Don’t Look Now (1973) – probably Roeg’s most
straightforward film, and so for all its striking images & devices, one of
his least necessary
Instructions
for a Light and Sound Machine (2005) – Tscherkassky reconfigures violent
Western genre pleasures as deep cinematic trauma
Splendor
in the Grass (1961) – Kazan’s drama of broken love and sexual suppression,
beautifully suspended between fragility and intensity
My
Golden Days (2015) – a glowing Desplechin masterwork: an intricately structured
memory excavation rendered with superb, moving naturalism
Marathon
Man (1976) – much about Schlesinger’s thriller is overblown and/or outright
distasteful, despite some famously effective passages
Nouvelle
vague (1990) – Godard’s densely challenging text ultimately uplifts for its
vision of elevation from stifling structures and codes
The
Cobweb (1955) – Minnelli’s sensational expression of pervasive 50’s anxiety, a
major peak of the ultra-expressive melodramatic form
Goodbye
First Love (2011) – Hansen-Love’s fine exploration of the evolving architecture
of desire, as sensation operated upon by time
The
King of Marvin Gardens (1972) – Rafelson’s masterpiece, excavated from a nation
fending off the dark with tall tales and dice throws
The
Story of Piera (1983) – a rather flat experience, despite Ferreri’s jagged
approach to narrative and recurringly perverse instincts
The
Connection (1962) – Clarke’s landmark film brilliantly interrogates, and
embodies, both sober realities and artistic artifices
A
Simple Life (2011) – but in Hui’s hands a quietly evocative one; the degree to
which it’s a fully realized life is inherently ambiguous
Executive
Action (1973) – Miller’s interesting but underpowered pre-Stone speculation on
the JFK killing feels sparse and patched together
La
vie de Jesus (1997) – insisting on the sublimity in what we might disdain,
Dumont frames an unadorned life as a form of pilgrimage
Holiday
(1938) – Cukor’s fine comedy, energized by intuitive camaraderie, by fun and
self-exploration as the driver of meaningful existence
Il
n’ya pas de rapport sexuel (2011) – Siboni’s not uninformative porn documentary
toys predictably with the premise of its shrewd title
Emmanuelle
in Soho (1981) – and thereby stripped of any glamour or eroticism, replaced by
woebegone, sociologically damning British drabness
Lisztomania
(1975) – I can usually go with the bubbly Russell flow, but making it through
this nutball cultural mash-up is mostly a chore
Black
Sabbath (1963) – Bava’s trilogy of slow-building horrors, narratively pretty
solid, enhanced through engaged lighting and camerawork
Grandma
(2015) – beyond some good give-and-take and commendable liberalism, Weitz’s
life-revealed-in-a-day structure doesn’t amount to much
Remorques
(1941) – Gremillon’s tight but evocative fatalistic romance/drama, striking for
its engaged sense of anxious community
Heartburn
(1986) – Nichols’ adaptation would seem like standard-issue scene-making,
absent his still, often penetrative mode of observation
Detruisez-vous
(1969) – at different times, Bard’s disorienting oppositions evoke both
revolution in one’s grasp, and its impossibility
Diary
of a Teenage Girl (2015) – Heller’s exquisitely-considered exploration,
pulsating with the excitement of self-exploration & definition
Manon
(1949) – distinguished throughout by Clouzot’s grim undermining of romantic
ideals, never more than in its remarkable final section
Ned
Rifle (2014) – amiable enough but low-achieving extension of the Henry Fool
mythology doesn’t suggest Hartley has much game left
La
prima notte di quiete (1972) – Zurlini is far less striking than Antonioni, but
gradually taps a similarly fascinating, desolate longing
Bridge
of Spies (2015) – Spielberg in his appealingly unshowy, quietly imposing, if
not very interrogative servant-of-history mode
Ballet
mechanique (1924) – Leger and Murphy’s pioneering short retains its urgency,
but only fleetingly taps into cinema’s sensuousness
Hanna
K (1983) – Costa-Gavras’ stodgily twisting melodrama hardly provides the most
effective way of illuminating or exploring modern Israel
War
Requiem (1989) – a modest Jarman work, but drawing powerfully from the dark
ocean of war-related imagery, from the drab to the psychotic
Woman
in the Dunes (1964) – despite Teshigahara’s facility, ultimately more a
visually arresting entertainment than a vital exploration
A
Walk in the Woods (2015) – Kwapis’ trek movie, sticking diligently to the most
banal trails, makes Wild feel like the work of Antonioni
Three
Songs about Lenin (1934) – for all Vertov’s cinematic commitment, feels now
much like being preached at for a (rather long) hour
Sicario
(2015) – Villeneuve’s often arresting but ultimately insufficiently complex
probe into America’s murky moral and legal heart
A
Drama of Jealousy (1970) – Scola’s interrogative approach doesn’t ultimately excavate
much depth, for all the energy and incident
Touchy
Feely (2013) – Shelton has some interesting concepts & juxtapositions, but
her formal experiments feel like mere artistic groping
Echappement
libre (1964) – Becker’s Belmondo/Seberg reteaming is zippy fun, but stuck in
genre convention, where Breathless transcended it
Inside
Out (2015) – intriguing to think such a film could illuminate consciousness, if
it lived way further outside the Hollywood headspace
Repast
(1951) – Naruse’s absorbing study of a strained marriage, finely tuned to the
ever-present reminders of other roads not taken
She’s
Funny that Way (2014) – Bogdanovich observes this heavygoing farce with a
glassily emphatic intensity, underlining its disembodiment
La
tete d’un homme (1933) – Duvivier’s Maigret mystery is compelling for its
intense, visually engaged examination of twisted psychology
The
Pervert’s Guide to Ideology (2015) – among much else, a useful reference point
for untangling the wearisome mechanics of Trumpism
Three
into Two Won’t Go (1969) – Hall’s rather flat, or alternatively, intriguingly
muted drama of middle-class lies and disappointments
Histoire
de Marie et Julien (2003) – Rivette’s brilliant “ghost” story, a film of most
quietly intricate structural and emotional complexity
Love
Story (1970) – a lot of undistinguished 70s cinema looks more textured with
time; this particular one, not really so much
The
Look of Silence (2014) – Oppenheimer’s brilliantly structured, devastatingly
poised interrogation of overwhelming moral complexities
Too
Late for Kisses (1949) – rather plainly visualized, but you feel the collective
creative relish driving Scott’s patriarchy-busting moves
Irreversible
(2002) – Noe’s notorious film: too (in its way) sincere to be exploitative, too
nakedly experimental to be passionately admired
Cruising
(1980) – Friedkin’s notorious film isn’t without artful ambiguity &
distance, but hard to separate it from the shallow opportunism
Victoria
(2015) – Schipper’s single-take virtuosity expresses something of Europe’s
uncertain, alternatively giddy and traumatized momentum
Mister
Roberts (1955) – Ford/LeRoy’s easygoing wartime chronicle remains a pleasant
showcase for star interactions, dated attitudes aside
The
Practice of Love (1985) – less striking than Export’s majestic Invisible
Adversaries, but in its own way as pervasively disruptive
Exorcist
II: the Heretic (1977) – Boorman succeeds in evading the original’s
literal-mindedness, but struggles to articulate his own vision
Android
Dreams (2014) – De Sosa’s desolate approach to science fiction seems to ring
with echoes of Europe’s lost vitality and coherence
The
Trial (1962) – Welles’ imposing if imperfect adaptation of Kafka, heavy with
darkly blended visual, psychological and historical trauma
The
Exquisite Corpus (2015) – Tscherkassky converts scraps of titillation into an
incendiary, seductive yet accusatory cinematic labyrinth
The
Ninth Configuration (1980) – Blatty’s provocative drama glimpses the vastness
of American madness, but disappointingly averts its gaze
Szamanka
(1996) – Zulawski’s feverish Last Tango, each combustible encounter marking one
step closer to psychic (and actual?) apocalypse
I
Confess (1953) – Hitchcock’s stark study of guilt and suppression, articulated
at times in a fascinatingly purged, almost Bressonian style
Macaroni
(1985) – little more than a Naples travelogue, with Scola deploying Lemmon and
Mastroianni in the most obvious manner possible
An
Enemy of the People (1978) – Schaefer’s far too stagy, actorly &
unatmospheric version of the play, unequal to McQueen’s quiet commitment
Lunacy
(2005) – Svankmajer’s imposing cinematic edifice, built (over-built?) at the
intersection of free will, madness and unbound flesh
I
Married a Witch (1942) – gimmicks and special effects (like Veronica Lake)
aside, much of Clair’s high-concept comedy is pretty pedestrian
The
Future (2013) – we already know the future isn’t what it used to be, but
Carrasco makes the point with virtuosic low-budget strangeness
Thieves
after Dark (1983) – Fuller’s fatalistic French thriller is too often bland and
slack, but his signature isn’t entirely absent
Jimmy’s
Hall (2014) – not a major Loach work, but it draws powerfully on ongoing
institutional fear of worker organization and expression
Loving
Couples (1964) – Zetterling’s astounding drama often seems to be drawing on the
entirety of female experience, desire & suppression
Beasts
of no Nation (2015) – Fukunaga leads us into incomprehensible experience; perhaps
the film’s failures to illuminate it are deliberate
Fantastic
Planet (1973) – Laloux’s fantasy defines its own artistic universe, powered by
allegory, savagery, whimsy, vision and silliness
Nightcrawler
(2014) – Gilroy quite ingeniously locates modern day vampirism in the overlap
of TV news and morally vacuous career drive
Walkover
(1965) – Skolimowski’s early films are endlessly diverting, pugnaciously
grounded while elevated with a uniquely jagged energy
Trainwreck
(2015) – less funny and investigative than any random episode of Schumer’s
show, and laden down with trivial distractions
The
3 Penny Opera (1931) – Pabst’s filming is piercing at times, but at others it
seems to drift, ending up rather shapeless and perplexing
The
Gambler (2014) – Wyatt’s film delivers some old-fashioned pleasures, but too
often seems merely to strike grimly superficial poses
Todo
moro (1976) – Petri’s intense, eloquently scathing representation of Italy’s
governing rot, darkly foreseeing a terrible cleansing
Eisenstein
in Guanajuato (2015) – or maybe it’s just a penis-fixated buffoon masquerading
as him, in one of Greenaway’s less imposing works
Adua
& her Friends (1960) – Pietrangeli’s study of female collaboration is so
pleasurable, their final failure hits all the more tragically
A
Spell to Ward off the Darkness (2013) – or else to willingly succumb to it, in
Russell/Rivers’ eccentric but mysteriously balanced study
Secrets
(1971) – Saville’s study of a family and its transgressions searches too hard
for shards of significance, but doesn’t entirely fail
Un
chant d’amour (1950) – Genet’s remains one of cinema’s most beautifully
expressed wishes, of an enacted desire that displaces the law
CQ
(2001) – Coppola (no Peter Strickland) throws in plenty of cinephile-friendly
eye candy, but overall it’s stylistically uninteresting
The
Perfume of the Lady in Black (1974) – Barilli’s grab-bag trauma drama, rendered
eerily coherent by sheer well-visualized conviction
Love
& Mercy (2015) – Pohlad’s Brian Wilson biography, unusually attentive both
to its characters and to the texture of the creative process
Quand
tu liras cette letter (1953) – Melville packs a huge amount of social
observation and contrast into this still bitingly adult drama
Love
& Friendship (2016) – an expertly-judged and -balanced social dissection,
extending Stillman’s slowly-accumulating perfect score
The
Devil’s Eye (1960) – an oddly-premised Bergman “comedy” that’s both amusing and
severe, complementing his other work of the period
Crimes of Passion (1984) – Russell’s
sort-of-inspired sleaze opera, intermittently pointlessly posing as a serious
investigation of desire
La
course du lievre…(1972) – Clement’s amazingly cast crime drama encompasses
numerous intriguing takes on the genre’s inherent fancifulness
Tangerine
(2015) – Baker’s wonderfully energetic mini-odyssey, a very modern application
of the everyone-has-her/his-reasons philosophy
That
is the Dawn (1956) – Bunuel’s romantic drama, driven by deeply-felt social
compassion, housing a calm but clear vein of transgression
The
Falling (2014) – Morley’s enthralling fable of female mystery and complexity,
exquisitely conceived and realized in every detail
Order
of Death (1983) – Faenza’s murky storytelling doesn’t realize the potential of
the premise, & certainly not of the imaginative casting
Within
our Gates (1920) – Micheaux’s (objectively, often bizarrely choppy)
storytelling expresses the tangled pain of black life in America
Be
with Me (2005) – Khoo’s quiet drama of loss & longing doesn’t initially
seem too special, but thrives through interesting juxtapositions
Obsession
(1976) – De Palma’s immaculately sustained sensual reverie, channeling
Vertigo’s acuteness into stunned, dream-like experience
On
the Silver Globe (1988) – Zulawski’s unfinished forward-looking epic; sadly, a
bit of a monotonous slog, for all its allusive power
Sabrina
(1954) – not one of Wilder’s more incisive films, but an eternally pleasant
confection, not least for the casting of course
The
Salt of the Earth (2014) – Salgado’s work is soberingly limitless, but Wenders
doesn’t bring much more than hushed reverence toward it
McCabe
& Mrs. Miller (1971) – Altman’s “revisionism” mostly consists of discarding
one cinematic myth for a stranger, dreamier replacement
Jane
B. par Agnes V. (1988) – Varda’s blissfully inventive, ultra-Varda-ish placing
of the evasive Birkin as the gateway to a cinematic maze
Gentlemen
Prefer Blondes (1953) – Hawks’ classic comedy of gender exaggeration, studded
(!) with memorable (in various ways!) set-pieces
Misunderstood
(2014) – Argento’s study of a largely unloved child, interestingly channeling
the whims and extremes of her own sensibility
Tempest (1982) – a weird Mazursky project
that plays almost like a bloated, unfocused parody of his best work; enjoyable
viewing regardless
Sex
is Comedy (2002) – a lighter yet still troubling work from Breillat, on the
tensions underlying the portrayal of desire in cinema
Chicago (1927) – Urson’s precursor to the
musical doesn’t exude much jazz age flavour but is enjoyable anyway, with a
nice vein of cynicism
Dheepan
(2015) – the derided ending is actually the most interesting artistic flourish
in Audiard’s otherwise unremarkably scrupulous study
Laughter
in the Dark (1969) – Nabokov’s fascinating tale probably should have yielded a
sharper film than Richardson put together here
Goltzius
and the Pelican Company (2012) – Greenaway remains a dauntingly astonishing
architect of intellectual and cinematic structures
The
Wild Duck (1976) – sad that Seberg registers so little in her final film, but
it’s sensitive to the complexities of Ibsen’s play
Ricki
and the Flash (2015) – Demme can’t tease much depth out of such trivial
material; still, he delivers easy, if mostly flashless fun
La belle captive (1983) – one of
Robbe-Grillet’s best films, crafting a stylish dream-logic narrative, pervaded
by anxiety and obsession
Personal
Velocity (2002) – Miller’s three-part film is an almost exemplary example of
how small things, shown on screen, may become profound
Pepe
le Moko (1937) – one still dreamily loses oneself in the doomed machinations,
as much as in Duvivier’s fluent evocation of the Casbah
Queen of Earth (2015) – Perry’s virtuoso
pivot from the flowing literacy of Listen Up Philip, deep into the unyielding
contours of trauma
Battles
without Honor and Humanity (1973) – and fought against a landscape largely free
of hope or integrity, in Fukasaku’s gangster classic
They
made me a Fugitive (1947) – Cavalcanti’s excellent study in post-war venality,
hustling & despair, crackingly conceived & articulated
The Human Centipede (2009) – Six maintains
the creepiness pretty well, but it’s all just too hermetically weird to have
much evocative power
La
tendre ennemie (1936) – in its investigation of female desire, Ophuls’ rather
cluttered high-concept film calls ahead to Lola Montes
Everybody’s All-American (1988) –
Hackford’s bland slog through years and regrets carries little deep sense of
time, place or real character
Blanche (1971) – Borowczyk’s exquisitely
controlled tale of repressed desire and manipulation, essential to a rounded
view of his cinema
Magic Mike XXL (2015) – if nothing else,
Jacobs’ film is striking for its near-total immersion in (a certain concept of)
female pleasure
La
chienne (1931) – irresistible early Renoir, telling its twisted tale with
amused attentiveness to the complexities of human motivations
The Last Five Years (2014) – LaGravenese’s
sweetly fluid musical, providing a more than adequate stop-off between more
consequential movies
Rysopis
(1965) – Skolimowski elevates the mundane through sustained imagination, pace,
and affinity for everyday oddities and mysteries
She’s Gotta Have It (1986) – Lee’s joy-evoking,
super-inventive debut, the all-time great cinematic appetizer to a staggeringly
rich career
The Middleman (1976) – Ray’s studies of
compromised modern India are among his most interesting work, despite some
excessive underlining
Leviathan (2012) –
Castaing-Taylor/Paravel’s turbulently meditative record/poem, wondrous and
horrible, of the ocean and industrial man
Shoot
the Pianist (1960) – Truffaut’s loosely discursive approach to the noir
material feels largely as fresh and modern as ever
Invincible (2001) – Herzog is well-attuned
to the material’s perverse elements, but too often falls merely into
meandering, dour stateliness
A
Walk Through H (1978) – Greenaway’s multi-layered journey, a dauntingly
self-contained mythology that’s nevertheless bracingly liberating
Trois places pour le 26 (1988) – Demy’s
overlooked last film, a happily retro musical that’s also a remarkable,
transgressive investigation
The
Symbol of the Unconquered (1920) – even in this incomplete state, Micheaux’s
film provides a compelling window on racial complexities
A
Hijacking (2012) – Lindholm’s drama provides a more quietly piercing, far less
bombastic contrast to the broadly similar Captain Phillips
High
Plains Drifter (1973) – Eastwood’s early film as director; a rigorously unfussy
step on his long, active road of self-myth construction
La vie de famille (1985) – Doillon’s
examination, both incisive & playful, of ambiguities that make a family (if
the concept exists at all)
The Rink (1916) – Chaplin’s action-packed
short is ultimately a showcase for ceaseless roller-skating aplomb, with
Charlie’s delight evident
Les voleurs (1996) – one of Techine’s very
best films, navigating its narrative and thematic complexities with
near-supernatural assurance
Opening Night (1977) – a Cassavetes
masterpiece, brilliantly expressing the traumas and liberating breakthroughs of
acting and creation
My Neighbor Totoro (1988) – a more
small-scale example of Miyazaki’s aesthetic – it’s the wondrous trippiness
which mostly makes the movie
Nothing Sacred (1937) – Wellman’s classic,
savvy comedy; the themes of public manipulation and rigged identification
haven’t aged a bit
I’m Going Home (2001) – de Oliveira’s film
has its own
entrancing sense of ethicism and elegance, and some unexpectedly funny
contrivances
Designing Woman (1957) – Minnelli’s
romantic comedy is most alluring when the mostly mundane plotting gives way to
cinematic exuberance
The Blue Room (2014) – Amalric’s
intricately structured exercise in erotic, ominous fatalism, just about
perfectly judged throughout
Best Friends (1982) – Jewison’s smoothly
dawdling, star-caressing vehicle hardly registers as a comedy, or as anything
at all really
Die
Nibelungen: Kriemhild’s Revenge (1924) – for all its spectacle, Lang’s sequel
is singularly governed by all-consuming obsession
Everybody
Wants Some!! (2016) – Linklater in his most gracefully unforced mode, observing
the tumble of competitiveness and camarderie
Black Lizard (1968) – Fukasaku’s crime/desire
romp leaps through its knowingly outlandish narrative with gleeful, stylish
self-awareness
The Black Panthers: Vanguard of the
Revolution (2015) – Nelson’s linear approach sacrifices some fire and texture,
but still vital viewing
A
Lesson in Love (1954) – only an intermittently profound one though, in this
fanciful, pleasantly over-stuffed early Bergman comedy
The Inner Life of Martin Frost (2007) –
Auster’s ultra-Austerian journey through the mysteries of creativity, to no
clear destination
Ro.Pa.Go.G (1963) – one of the best
anthology films, leaving few aspects of consumerism unkicked; Pasolini’s
segment is especially strong
Bringing out the Dead (1999) – Scorsese’s
morally anguished drama is superbly rendered of course, but its darkness houses
familiar ghosts
Je t’aime moi non plus (1976) –
Gainsbourg’s amazing, desperate vision; a confused but unashamed psyche yelling
from the world’s asshole
Miss Julie (2014) – Ullmann’s increasingly
intense version of the play is more wrenching but less cinematically engaging
than Sjoberg’s
The New Babylon (1929) –
Kozintsev/Trauberg’s deeply immersed, full-to-bursting drama, an absolute
highlight of the Soviet silent cinema
Chi-Raq
(2015) – as vital as ever, Lee crafts an unflaggingly rich, angry engagement
with violence, community and cinematic convention
Lola Montes (1955) – Ophuls’ gorgeous last
film, limitless and liberated even as it places Lola in the most elegant of
cinematic prisons
The American Dreamer (1971) – befitting
its title, the portrait stamps Hopper as a gloriously messy amalgam, and a
wondrous bullshitter
Documenteur (1981) – Varda’s typically
frank portrayal of adaptation, suffused with quiet melancholy and ceaseless,
deconstructive curiosity
An American Tragedy (1931) – Sternberg’s
drama is best when immersed in shifty desire, and in the complexity of moral
and social calculation
The Mysteries of Paris (2015) – a valuable
stab, if haunted by absences, at the daunting task of supplementing Rivette’s
masterpiece Out 1
“M”
(1951) – Losey’s remake, less viscerally dazzling than the original, just as
gripping for cinematic fluidity & steely social awareness
Max mon amour (1986) – Oshima’s woman-loves-chimp satire has a subversive
premise and largely placid execution, which may be the main joke
Portrait of Jason (1967) – it’s impossible
in Clarke’s amazing “portrait” to disentangle revelation from performance, form
from content
Saint Laurent (2014) – Bonello’s consistently
fascinating, highly multi-faceted exercise in the complexities of
representation & appearance
Little Darlings (1980) – Maxwell’s film
engages in some interesting ways with teen female attitudes, for all its
simplification & silliness
Love One Another (1922) – Dreyer’s early,
rather cluttered drama is entirely of this world, in all its frequent
prejudice-stained ugliness
The Overnight (2015) – Brice jumps into
his premise, enjoyably hits some safely naughty marks and quickly gets out,
mission accomplished
Les carabiniers (1963) – Godard’s contempt
for war’s squalid fantasies rings through every step of the film’s sparse,
desperate inventions
Angel Heart (1987) – Parker’s lurid
supernatural thriller, too silly and overdone to engage disciples either of the
light or the dark
Okoto and Sasuke (1935) – a lovingly-told
tale of devotion, more gentle in its social awareness than Shimazu’s more
contemporary stories
Manglehorn (2014) – Green’s beguiling
amalgam of conventional core narrative and eccentrically subjective,
digressive, allusive elaboration
Black and White in Color (1976) – Annaud’s
modest colonial satire, most memorable for the background authenticity of its
Ivory Coast setting
The
Revenant (2015) – Inarritu’s achievement is primarily a logistical and
technical one, in a film of limited artistic texture otherwise
Entr’acte (1924) – the images in Clair’s
short debut may carry limited bite, but his joy in cinematic play and movement
is undiminished
The Graduate (1967) – Nichols’ classic has
iconic moments to burn, but they barely seem now to cohere into a lastingly
resonant whole
Diplomacy (2014) – Schlondorff’s
old-fashioned but well-told elevation of dialogue and reflection over
unquestioned military momentum
Divine Madness (1980) – Ritchie’s strong if straightforward showcase for
an indelible, if inherently somewhat unknowable performer
2046 (2004) – Wong’s alluring extension of In the Mood for Love suggests
a filmic universe & directorial mythology of infinite possibility
The Grapes of Wrath (1940) – aesthetic judgments hardly apply, when
Ford’s drama of poverty and relocation still feels so achingly relevant
The Ugly One (2013) – Baudelaire’s poised reflection on war’s challenge
to representation & reality, less fruitful than his documentaries
The Kid (1921) – Chaplin’s film is more
calculation than cinematic dream, but the graceful sweetness at its centre
remains captivating
The Sacrifice (1986) – despite some
genuine marvels, Tarkovsky’s stately last film lacks the glorious stimulations
of his greatest work
Seance on a Wet Afternoon (1964) – the
premise of Forbes’ low-key thriller carries it along, despite a rather
journeyman quality overall
Far from the Madding Crowd (2015) – it’s
hard to identify any significant respect in which Vinterberg’s version improves
on Schlesinger’s
Out One: Spectre (1974) – Rivette’s edited
down, more narratively propulsive version interrogates reality and meaning no
less brilliantly
Ex Machina (2015) – Garland’s pristine,
isolating cinematic design perfectly reflects his ominous theme, explored with
probing articulacy
Une vie (1958) – Astruc’s tale of a woman,
deeply immersed in its characters’ ill-fated instincts and in their
unsheltering surroundings
The Guest (2014) – Wingard’s entertaining
if not too illuminating parable plays rather like a Schwarzeneggerized version
of Teorema
The Trio’s Engagements (1937) – not a major Shimazu film, but with some
pleasantly whimsical observation of male and organizational idiocies
Slow West (2015) – one admires the
imaginative precision of Maclean’s engagement with genre, without really
getting all that much out of it
Mon oncle d’Amerique (1980) – Resnais’ film often feels overly schematic,
but is that what I really feel, or is it a conditioned response..?
The Russia House (1990) – Schepisi’s
underpowered, underrevealing and under-romantic (although often over-written)
le Carre adaptation
Die Nibelungen: Siegfried (1924) – Lang’s
epic becomes gradually more Langian, as dragons and magic yield to conspiracy
and moral weakness
Hungry Hearts (2014) – Costanzo’s would-be unsettling drama doesn’t
exactly engage progressively with the complexities of motherhood
Le revelateur (1968) – Garrel’s astonishing cinema has always seemed to
occupy its own quite unnerving narrative, psychic & thematic space
Nailed (2015) – Russell’s abandoned film feels like a lost cause from the
start, lacking even the meagre virtues of his other recent work
Smiles of a Summer Night (1955) – one of Bergman’s many peaks, a grand piece
of comedy styling, yet rigorous & morally intriguing throughout
It Follows (2014) – a metaphorical horror concept for the ages, fully
realized through Mitchell’s terrific observation and tonal control
Morning for the Osone Family (1946) – despite its faults, Kinoshita’s
study of home during war retains all the power of its moment in time
Star Trek: Into Darkness (2013) – Abrams lurches from one ill-conceived
notion to another, salvaging little of the original’s richness
Loulou (1980) – Pialat’s magnificently turbulent, never merely messy
behavioral study has a naturalism that often feels virtually unmediated
Noah (2014) – Aronofsky’s stubbornly eccentric telling (why so few
kick-ass animal shots!?) is overall more dour and dogged than visionary
Kino Eye (1924) – some of what Vertov’s eye sees is a bit tedious now,
but his assertion of cinematic & social possibility remains gripping
Go Go Tales (2007) – a night in a strip joint, teeming with incident,
perhaps (surprisingly?) Ferrara’s most tolerantly indulgent work
Tokyo Story (1953) – often plausibly cited
as Ozu’s greatest work; certainly one of his most perfectly structured and
complexly affecting
Interstellar (2014) – a very unbombastic space epic, defined as much by
absence as engagement; perhaps Nolan’s most quietly satisfying film
Lancelot du lac (1974) – Bresson deploys
extreme narrative & cinematic coding & reduction here; not his most
transporting work, by design
Aloha (2015) – just about holds together, but whatever modest
idiosyncrasy and emotional insight Crowe once possessed seems calcified by now
El (1953) – Bunuel’s wondrously controlled and expressive dissection of
male passion and entitlement is among his (many many) finest films
Dying of the Light (2014) – for all the
interesting frailty and moral fatigue at its centre, hardly the film one wishes
for from Schrader
Our Neighbour, Miss Yae (1934) – Shimazu’s fine, surprisingly sexually
aware film, demonstrating his great alertness & progressive curiosity
The Decline of Western Civilization Part
III (1998) – a largely grim end to Spheeris’ trilogy, its choppy nature
impeding its authenticity
Pauline at the Beach (1983) – one of Rohmer’s lighter works, although the
narrative and psychological intricacy is as stunning as ever
The Crimson Kimono (1959) – a thriller that delves fascinatingly into
cultural attitudes, with some prime examples of the Fuller cinema-fist
Letters to Max (2014) – a beautiful little
film, in which Baudelaire’s teasing structure perfectly supports the
complexities of his subject
It’s Alive (1974) – Cohen’s storytelling is frequently spasmodic and
ragged, but the movie always retains its anxious, pained undercurrent
You, the Living (2007) – or the barely
living, in Andersson’s uniquely indicting vision of an inwardly and outwardly
drained existence
The Marriage Circle (1924) – Lubitsch’s fine comedy of mismatched
desires, notable for a landmark portrayal of unashamed female horniness!
Battle Royale (2000) – Fukasaku’s teen slaughter epic provides some easy
points of nihilistic identification, but not really too much else
Welcome to L.A. (1976) – Rudolph’s debut
is overly posed and narrow in its preoccupations, even allowing that’s largely
the point of it
Masques (1987) – Chabrol seems to be having an unambitious,
genre-friendly good time here, which the audience can more or less buy into
In a Lonely Place (1950) – Ray’s spellbinding study of emotional
instability pushes Bogart into a rawly confessional, deeply-affecting vein
Tomboy (2011) – Sciamma’s delicately captivating study is alert to every
nuance of her protagonist’s psychology and environment
Over the Edge (1979) – Kaplan packs the
film with piercing identification & pleasure points, all the way to the
damn-the-consequences climax
In the Mood for Love (2000) – Wong weaves together countless structural
audacities and aesthetic marvels with seductively intuitive mastery
Experiment in Terror (1962) – it’s
intriguing to search for Edwards’ sensibility within such low-key (hardly
experimental) early projects
The Emperor’s Naked Army Marches On (1988) – Hara’s rough-edged but
galvanizing, morally probing study of a uniquely possessed individual
The Exorcist (1973) – compared to the most
penetrating horror films, an absorbing spectacle that stays safely at arm’s (or
puke’s) length
The Anabasis of May and Fusako… (2011) – Baudelaire’s film is riveting
both as modern history and as a reflection on identity & experience
Day of the Fight (1951) – even in its
brevity and narrow focus, Kubrick’s early short seems heavy with existential
emptiness and exhaustion
Son of Saul (2015) – for me, Nemes’
hyperactive narrative momentum constitutes a problematic artistic and ethical
approach to the Holocaust
Harlan County, U.S.A. (1976) – Kopple’s
moving reality poem encompasses an entire fraught history of weary steps
forward, and others back
Juliet of the Spirits (1965) – all-out
Fellini, maintaining an extraordinary level of invention, and yet feeling
largely tedious and inert
Youth (2015) – hard to see Sorrentino’s film as much more than a
beautiful, lugubrious idiocy, with vague glimpses of some greater design
What? (1972) – Polanski’s startlingly unpredictable vision of confinement
shrouds its meticulous control under multi-faceted weirdness
What we Do in the Shadows (2014) – Clement
and Waititi’s deadpan, idea-spurting vampire “documentary” is dead-on
scrupulous to the end
Pather Panchali (1955) – the status of Ray’s film as a “human document”
remains its great strength & to some extent its cinematic limitation
The Hateful Eight (2015) – Tarantino’s high-entertainment genre-hugging
work drinks deeply from America’s bloody pools of trauma
No End (1985) – Kieslowski’s
supernaturally-tinged drama of pragmatism and idealism lacks the composed
equilibrium of his greater works
Laggies (2014) – Shelton’s lightweight
comedy is all tedious plot mechanics and predictable insights, with disappointingly
little complexity
A Brother and his Sister (1939) – Shimazu’s unusually articulate &
observant film casts a quietly keen eye on workplace & family structures
The Big Short (2015) – McKay’s shouldn’t be the only version of this
daunting history, but he presents it with terrific energy and skill
Augustine of Hippo (1972) – a
perfectly-sustained work of investigation and evocation from Rossellini’s
reflectively pedagogic late period
The Duke of Burgundy (2014) – Strickland’s
minute control is structurally fascinating, but less viscerally galvanizing
than hoped for
Blow-Up (1966) – Antonioni’s beautiful,
unfaded enigma, overflowing with astonishing expressions of the interplay of
experience and meaning
Story of my Death (2013) – Serra’s strange
but masterfully sustained project, in part a meditation on cultural decay and
metamorphosis
Ulzana’s Raid (1972) – Aldrich’s unnerving
Western, an absorbing crucible for the era’s political and moral ambiguities
and failings
The Puppetmaster (1993) – a rich, winding
chronicle of personal and national vicissitudes, one of the central pillars of
Hou study/worship
Of Human Bondage (1934) – still a gripping
clash of acting styles, from Francis’ quiet naturalism to Davis’ all-conquering
artificiality
The New Girlfriend (2014) – Ozon has a
fresh and supple way with concepts of gender and identity, less so with visual
and tonal convention
Girlfriends (1978) – Weill’s film, as
fresh as ever, is still an unforced, beautifully intuitive compendium of female
dilemmas and desires
Tom at the Farm (2013) – consistently
contrived and unpleasant material, which Dolan does very little to elevate, or
even make tolerable
Come Back, Africa (1959) – over fifty
years on, Rogosin’s record of apartheid makes you feel as stirred and ashamed
as it surely did then
The Makes (2009) – Baudelaire’s graceful
little tribute to Antonioni, reflecting on the master’s almost limitless
evocative power
My Ain Folk (1973) – the second part of
Douglas’ miraculous trilogy, a film of austere but unforgettable social and
cinematic revelations
The Congress (2013) – Folman’s
impressively bewilderingly wild ride through identity & freedom spins
somewhere between great vision & folly
Magnet of Doom (1963) – Melville’s very
interesting, digressive semi-noir, a film with an odd air of simultaneous
expansion and contraction
The Babadook (2014) – Kent’s instantly
classic horror film, a terrifically well-considered expression of unresolved
sadness and trauma
Levres de sang (1975) – one of Rollin’s
most unified and sustained meditative narratives, somewhat more psychologically
charged than usual
Smithereens (1982) – an enjoyable film,
only partly successful at capturing its environment & culture, given
Seidelman’s narrative tidiness
Happiness (1935) – Medvedkin’s distinctly
eccentric, surrealistically flavoured parable of collectivism’s (& life’s)
bumpy relative virtues
Big Eyes (2014) – Burton’s dismally
zest-free film provides little hint of why we should care about Keane’s
pleasantly minor achievements
Love and Anarchy (1973) – Wertmuller’s
cinema of exclamation marks, although not without impact, is overall more
grating than galvanizing
Mad Max: Fury Road (2015) – superb spectacle, but I don’t really
understand the value judgment by which this would be the year’s best film
Il Grido (1957) – Antonioni’s masterpiece,
highly specific about and yet transcending time and place, tracing a man’s
doomed, futile freedom
Gallivant (1997) – Kotting’s warmly
idiosyncratic road trip, finding in Britain an inexhaustible behavioural and
cinematic playground
The Decline of Western Civilization Part
II (1988) – Spheeris’ entertaining but overly superficial, context-light and
freak-showish survey
Laila (1929) – Schneevoigt’s epic love
story remains terrific viewing, more notable for scenic wonders than for
stylistic or thematic ones
Losing Ground (1982) – Collins’ remarkable
study overflows with fresh, original perspectives on its central relationship,
on race & identity
The Land (1969) – a morally-charged film
of historical and cultural interest, but Chahine too often feels like a messy,
leaden director
The Captive (2014) – another unpleasant
Egoyan failure, applying his woefully tired, self-important bag of tricks to a
nasty core premise
Les liaisons dangereuses (1959) – even
without hindsight, one could have guessed such stylish nastiness wouldn’t
ultimately be Vadim’s bag
Spotlight (2015) – McCarthy’s
process-oriented drama carries little lasting impact either as cinema or as a
window on a poisoned institution
Planet of the Vampires (1965) - Bava’s
sci-fi film is mostly just OK, lifted though by often striking,
groovy-meets-haunting design & color
Kumiko, the Treasure Hunter (2014) – the
Zellners maintain a pleasant eccentricity, which is as big a pot of gold as the
premise can deliver
By the Bluest of Seas (1936) – Barnet and
Mardanin’s quasi-fairy tale, at once both a paean to and deconstruction of the
collectivist dream
Moonlighting (1982) – Skolimowski’s modest
but vastly resonant and observant docu-fable, teeming with moral challenges
both small and vast
Daughters of the Dust (1991) – plunging us
deeply into a distinct culture and ideology, Dash all but invents a new film
language and rhythm
Araya (1959) – Benacerraf’s beautiful
cultural record, gorgeously composed in all respects, although not without
aspects of over-insistence
Tusk (2014) – perhaps the best
man-into-walrus movie imaginable, given Smith’s new burst of “auteurist” life,
and full-blubber acting
House (1977) – Obayashi’s is indeed a
staggering creative barrage; is it a success measure if you mostly want to hide
from it in a cellar?
Listen to me Marlon (2015) – Riley’s
overly prettified and fragmented approach to the most complexly
reflection-worthy of screen actors
Mamma Roma (1962) – Pasolini’s stunning
film, relishing both rough-hewn naturalism and theatricality, inevitably
yielding profound suffering
Dear White People (2014) – Simien’s
wonderfully alert, thought-provoking, multi-faceted case study, surely one of
the year’s best films
Fascination (1979) – Rollin’s initially
intriguing vampire tale ends up feeling a bit thin, and relatively restrained
erotica-wise (darn!)
The Decline of Western Civilization (1981)
– Spheeris’ indelible punk record thrills and repels, often (as the scene
warrants) both at once
Enthusiasm (1931) – Vertov’s record of
industrial achievement, generally less cinematically engaging now than his Man
with a Movie Camera
Unbroken (2014) – Jolie’s chronicle of
suffering and survival is highly polished, such that you mostly just squint
helplessly before it
The Passenger (1975) – Antonioni’s
inexhaustibly reflection-worthy triumph might actually be, if I had to choose,
my favourite of all films
Jacquot de Nantes (1991) – a perfect gift
from Varda for Demy-philes, a memoir/scrap book you absorb with constant
delight, wanting no more
The Swarm (1978) – as if to illustrate the
result of placing substantial resources & legendary actors in the hands of
a bumbling simpleton
Noriko’s Dinner Table (2005) – Sono’s
delicately mysterious exploration of teenage girl restlessness and the
multiplicity of resolutions
Foreign Correspondent (1940) – Hitchcock’s
thriller is more about can-do breeziness than complexity, but with several
memorable set-pieces
Phoenix (2014) – Petzold intriguingly
deploys his highly artificial, noir-ish premise to interrogate Germany’s
post-war moral desolation
Westworld (1973) – typical Crichton
concoction of an engaging governing concept neutered by mostly disappointing
detailed execution
The Wind Rises (2013) – Miyazaki’s
wonderful, perpetually graceful but gravely serious meditation on flight,
dreams, fragility and death
Outrage (1950) – Lupino’s wide-ranging,
highly alert study of assault & its aftermath, with one of Hollywood’s more
ambiguous happy endings
Alice and Martin (1998) – very
distinctively Techine’s in its narrative shifts and substitutions, and
overriding sense of composed purpose
China 9, Liberty 37 (1978) – Hellman
injects a few inventive flashes, but it’s mostly a disappointingly plain,
straightforward western
The Assassin (2015) – beneath beautiful
genre trappings, entirely recognizable as an application of Hou’s scintillating
methodologies
Louisiana Story (1948) – Flaherty’s
engaging, all-but-Disneyfied slice of southern life doesn’t carry much insight
or significance now
The Sleeping Beauty (2010) – Breillat
brilliantly springboards from Demy territory, into a complex representation of
awakening and maturity
Vanishing Point (1971) – the “mythic”
aspects of Sarafian’s classic road picture are strained, but it’s satisfyingly
atmospheric & handsome
Taxi (2015) – Panahi navigates charmingly
within Iran’s human & technological possibilities, in a work of gently
subversive form & content
Cul-de-sac (1966) – Polanski’s unique
comedy, a wickedly finely-dug hole at the literal, symbolic and psychological
end of the road
A Girl Walks Home Alone at Night (2014) –
Amirpour’s interesting, if not that impactful, exercise in minimalist
expectation-subversion
The Confession (1970) – Costa-Gavras’
informatively multi-faceted scream from the self-loathing heart of an
ideologically righteous regime
Experimenter (2015) – the supple form of
Almereyda’s sublimely stimulating film perfectly fits its protagonist’s restless
investigations
Vengeance is Mine (1979) – an Imamura
masterpiece, its directorial scope and control almost as terrifying as its
unknowable protagonist
20,000 Days on Earth (2014) – holding
“truth” and myth in perfect equilibrium, Forsyth and Pollard give the great
Cave the film he deserves
Shadows of Forgotten Ancestors (1965) –
Paradjanov’s high-conviction, colour-saturated imagery is among cinema’s most
hauntingly distinctive
Foxfire (2012) – unexpected choice of
project for Cantet, sometimes feeling largely conventional, but quietly
disruptive in various ways
The Nude Vampire (1970) – Rollin’s
startling brand of visionary kink can be rather mesmerizing on its own terms,
if not on anyone else’s
The Martian (2015) – Scott’s feels like a
patchwork of earlier movies in too many respects, but one appreciates its
unpretentious nimbleness
The Crime of Monsieur Lange (1936) – less
notable for the “crime” than, as always, for Renoir’s spellbinding human and
moral orchestration
St. Vincent (2014) – Melfi’s ritualistic
visit to cinema’s venerable odd-couple altar, the honoured sentimentality
quotient well intact
The Seventh Seal (1957) – Bergman’s
classic vision of life at its earthly limit, a lesson perhaps in the virtues of
engaged equanimity
Junun (2015) – Anderson’s pleasant,
resourceful but unforced observance of musical fusion occupies its own graceful
space within the genre
The Two of Them (1978) – it’s rather sad
that Meszaros’ astute study of women and their environment still seems so
relatively unusual
Predestination (2014) – a seriously
impressive feat of plotting by the Spierigs, and a one-of-a-kind manipulation
of gender boundaries
Princess Yang Kwei Fei (1955) –
Mizoguchi’s beautiful, deeply empathetic tale of the tragic constraints at the
centre of opulent power
Cobain: Montage of Heck (2015) – for all
Morgen’s strenuous efforts, Cobain’s is the archetypal narrative that mostly
resists illumination
Old and New (1929) – Eisenstein’s hymn to
agricultural modernization conveys virtually boundless belief in imagery and
industry alike
Lucy (2014) – Besson’s fantasy of
supercharged human capacity, a film so enjoyably unleashed that it actually
does feel kind of liberating
The Merchant of Four Seasons (1972) –
Fassbinder’s piercing, subversive study of death by small capitalistic steps,
wretched 70’s-style
Just Tell me what you Want (1980) –
perhaps Lumet was drawn to the idea of a “romantic comedy” containing almost
nothing you’d call “sweet”
Je t’aime je t’aime (1968) – Resnais
transforms a familiar sci-fi premise into a mesmerizing fabric of loss, regret
and helpless experience
Kill the Messenger (2014) – Cuesta
provides plenty to chew on, even if his storytelling frequently seems too
straightforwardly seasoned
Sansho Dayu (1954) – Mizoguchi’s gorgeous,
tragic masterpiece encompasses immense narrative scope and great emotional and
moral delicacy
The Walk (2015) – expected 3-D spatial
high-points aside, Zemeckis delivers disappointingly little high-wire-level
cinematic poetry here
Christ Stopped at Eboli (1979) – Rosi’s
quietly charged chronicle of exile and assimilation, impressive despite overly
calculated elements
The Homesman (2014) – Jones again shows
himself a darkly fascinating, alert director, crafting a very full and distinctively
haunting tale
Elsa la rose (1966) – a charming Varda
miniature, perhaps expressing a gentle wish for her own creative and personal
partnership to endure?
You’re Next (2011) – Wingard slashes
through the familiar set-up with skill and intelligence, although hardly to a
genre-transforming extent
A Page of Madness (1926) – Kinugasa’s
deeply disorienting onslaught of expressionistic images still leaves you
ravished, and reeling
Magic in the Moonlight (2014) – Allen
muses pleasantly again on the meaning of existence, tapping Rex Harrison more
than Ingmar Bergman
Bad Luck (1960) – Munk’s well-sustained
sad-sack comedy, in which the hero’s misfortunes reflect Poland’s ever-evolving
traps and pitfalls
Going Clear (2015) – as pristine and
well-organized as all Gibney’s work, which as usual constitutes both a strength
and a limitation
That Obscure Object of Desire
(1977) – Bunuel’s final masterpiece is both elemental & cosmic, a
gracefully pointed undermining of everything
Dawn of the Planet of the Apes (2014) –
Reeves’ sequel loses most of the first film’s pleasures, for a lot of
standard-issue dystopian gloom
Tokyo Twilight (1957) – one of Ozu’s
saddest, most desolate works, filled with indelible brief studies of loneliness
and thwarted hope
The Misfits (1960) – Huston/Miller’s
doom-ridden drama blends wrenching emotional observation and uncomfortable
writerly/actorly excess
Le garcu (1995) – Pialat’s last film
explores familiar territory, but with all his brilliant feeling for turbulent,
contradictory experience
Klute (1971) – Pakula’s investigation of
sexual identities and narratives sometimes seems forced, but still a
fascinating mesh of elements
Mommy (2014) – for a “natural filmmaker”
of Dolan’s energy and panache, it’s a shame how substantively unrewarding his
films ultimately feel
To Be or Not to Be (1942) – Lubitsch’s
legendary wartime comedy is a masterpiece of structure, magically navigating
moral darkness and light
Dreams (1990) – over time, it’s easier to
tolerate Kurosawa’s visual & thematic didacticism here, to succumb to
what’s beautiful in the film
Rio Lobo (1970) – Hawks’ last film is
highly enjoyable, but it doesn’t have the emotional and behavioural coherence
of its predecessors
Love (2015) – Noe’s erotic meditation,
shimmering with sometimes naïve conviction, at least doesn’t lack for
intriguing moods and constructs
Night of the Living Dead (1968) – the
brilliantly stark beginning to it all, with Romero’s chilling concept already
rich in implication
Cure: the Life of Another (2014) – Staka’s
politically-charged ghost story of sorts engages imaginatively & hauntingly
with Europe’s traumas
Psychomania (1973) – certainly a nutballish
concoction, but a more gleefully unhinged director would probably have helped
(or “helped”)
Pirates (1986) – or, way too many knives
in the water, given the strain of appreciating Polanski’s sensibility within
this handsome oddity
Death of a President (1977) –
Kawalerowicz’s deeply-immersed exploration of the complexity of political
calculation, influence & consequence
Get on Up (2014) – Taylor’s approaches
Brown’s life as a structurally audacious hall of memories, with overly
academic, passionless results
The Bad Sleep Well (1960) – high-end pulp
revenge drama, steered by Kurosawa into a gripping exploration of power in all
its manifestations
Jimi: all is by my side (2013) – Ridley’s
reflectiveness, alert to racial politics & cultural ambiguities,
intriguingly rejects biopic norms
Les hautes solitudes (1974) – Garrel’s
singular viewing experience, both liberating and troubling, permeated by
Seberg’s sad resonances
Rosewater (2014) – Stewart’s mostly
forgettable debut, too weighed down with artificialities to yield much emotion
or sense of discovery
Days of Youth (1929) – Ozu’s silent film
is largely driven by delightful goofiness, but you already feel greater
reflectiveness percolating
The Color Wheel (2011) – Perry’s uneasy
comedy is always smart and stimulating, then in its closing scenes becomes
quietly remarkable
The Tin Drum (1979) – as filmed by
Schlondorff, a conceptual carnival that seldom feels like a very illuminating
engagement with history
Citizenfour (2014) – perhaps the rather
muted impact of Poitras’ Snowden documentary fits the shadowy nature of the
threat, I don’t know
The Last Day of Summer (1958) – …or maybe
of anything at all, in Konwicki’s starkly beautiful, ultimately rather slight
two-person encounter
S.O.B. (1981) – a festering evisceration
of Hollywood from Edwards’ most fascinating period, bleakly seeped in the
attitudes it disparages
Noroit (1976) – Rivette’s “pirate movie”
is perhaps his most intensely strange; a complex dance with genre, narrative
and performance
Love is Strange (2014) – it’s strange and
often sad, and so is the way the world intrudes on it, in Sachs’ beautifully
judged reverie
Macario (1960) – Gavaldon’s wonderful
fable of death and illusion, full of magical elements, but with a properly
stark sense of suffering
Mistress America (2015) – another Baumbach
high-water mark in contemporary comedy, with wonderful, fully-loaded pace and
unforced complexity
Helle (1972) – a quiet period study of
small-town dysfunction; helps somewhat to broaden the usual view of Vadim,
albeit not that memorably
The Skeleton Twins (2014) – Johnson’s film
is often quite distinctively morose, but then settles for flimsy, uninteresting
images of repair
Partner (1968) – another compelling early
Bertolucci masterwork – a deeply strange embrace of untapped otherness, of
unrealized revolution
Results (2015) – Bujalski’s most
conventional, least interesting film overall, despite its engaging riffing on
life-philosophy cliches
The Bitter Tears of Petra von Kant (1972)
– Fassbinder’s landmark power study, told through startling visual and
psychological compositions
Grace of Monaco (2014) – quite striking
for Dahan’s explorations of artifice and performance, although a lot of the
rest is pretty mundane
The Ipcress File (1965) – the first Harry
Palmer movie is solid nuts-and-bolts entertainment, driven by unsubtle
class-based discomfort
Tournee (2010) – Amalric’s directing, like
his acting, distinctively blends provocation and desolation, the mercurial and
the rueful
Bell Book and Candle (1958) – Quine’s
ponderous Novak/Stewart bewitchment comedy gains some unwarranted interest from
its odd Vertigo echoes
The Night of the Hunted (1980) – Rollin’s
haunting premise spawns a lot of poignantly creepy image making, despite some
narrative jerkiness
The Rose (1979) – Rydell’s
ever-fascinating interplay of a somewhat unremarkable narrative and the
mesmerizing presence at its centre
Le petit lieutenant (2005) – Beauvois’
extremely engrossing, surprising police drama encompasses a vast amount of
low-key, fluid complexity
Journey into Fear (1943) – Foster’s tight
little drama, dense with threat and behavioural eccentricity, and more than a
trace of Welles
Level Five (1997) – a lesser-known Marker
masterpiece, fascinated with new technologies, deeply aware of their capacity
for obscuring truth
MASH (1970) – now seems not so much
irreverent as merely crude and chaotic, despite the many points of Altmanesque
interest
Triple Agent (2004) – Rohmer’s late
masterpiece, a stunning reflection on the interplay of personal and political
positioning and action
I Know Where I’m Going! (1945) – a
wonderful spell of culture and community, woven by Powell’s lovely imagery and
compelling interactions
Calvary (2014) – McDonagh serves up
cracking lines and scenes like free drinks at a bar, so you hardly bother about
the big picture, if any
Le baby sitter (1975) – an enjoyable,
unsurprising thriller, Clement’s last; somewhat distinguished by his empathy
for his lead actresses
Palo Alto (2013) – Coppola delves
hauntingly into teenage experience; maybe the absence of much that feels new is
largely the point of it
Young Torless (1966) – Schlondorff’s tale
of evolving self-awareness doesn’t engage much as a film, for all its
underlying complexities
Irrational Man (2015) – Allen’s bleak
central concept often seems imperfectly articulated, and yet the film has a
stark confessional force
Travelling Actors (1940) – one of Naruse’s
quirkier explorations is pleasant but mostly slight, up until its whimsically
liberating ending
Fury (2014) – Ayer’s exploration of war’s
unfathomable psychological complexities evokes great respect, but little real
sense of discovery
More (1969) – Schroeder’s sensually
eventful dive into the period’s freedoms and risks; more striking now for the
highs than for the lows
Jinxed! (1982) – Siegel’s last film,
potentially an effectively peculiar little thriller, lacks his usual artful
shaping and control of tone
Faraon (1966) – Kawalerowicz’s politically
charged Egyptian epic increasingly turns inward, absorbingly exploring the
limitations of power
Da Sweet Blood of Jesus (2014) – Lee
repositions Ganja and Hess as an apparent cautionary parable on the draining of
purpose and engagement
Scandal (1950) – Kurosawa’s libel yarn is
enjoyable viewing, its real heart increasingly coming to lie in a
mini-Ikiru-like character study
Savage Messiah (1972) – an energetic
account of a difficult relationship, but one of the more monotonous works of
Russell’s peak period
The Dreamers (2003) – Bertolucci’s erotic
piece of nostalgia/denial all but wallows (quite mesmerizingly, to me) in its
gorgeous irrelevancy
And God Created Woman (1956) – Vadim’s
notorious breakthrough has a surprisingly desultory quality, punctuated by
flashes of Bardot delirium
Kiss me, Stupid (1964) – Wilder’s nasty
comedy of small-town moral hypocrisy leaves you little left to believe in
(under God or otherwise)
Jeune & jolie (2013) – Ozon both
titillates us with & deconstructs a teenage whore story, but would have
done better with less of the former
Juggernaut (1974) – an enjoyably
rollicking creation, with Lester bringing a distinct wryness to the
impressively assembled disaster cliches
Lore (2012) – Shortland’s affecting
journey through end-of-war Germany, quietly resonant about the breakdown of
morality and certainty
The Boat (1921) – another master class in
Keaton’s gorgeously multi-faceted imagination; Buster’s uniqueness transforms
the world itself
The Second Game (2014) – with no visuals
except dreary old soccer footage, Porumboiu whips up a stimulating personal
& philosophical dynamic
Some Call it Loving (1973) – Harris’
entirely unique meditation, fanciful but utterly serious, on fantasy & play
& their tragic limitations
The Territory (1981) – Ruiz transforms a
relatively accessible core narrative into something wondrously, startlingly
strange & implicating
Othello (1952) – Welles’ highly stripped
down version of the play, a brilliantly visualized and sustained study of
manipulation and weakness
Eden (2014) – the thrill of the scene, the
emptiness at its centre; Hansen-Love holds it all in terrific, minutely
observant equilibrium
The House that Dripped Blood (1971) –
Duffell’s solid anthology, from a time when everyone involved knew exactly how
seriously to play it
Absolute Beginners (1986) – Temple’s
ambitious period musical remains a disappointment, most everything about it
seeming forced & affectless
Mother (1926) – Pudovkin’s drama of
coalescing revolution remains stirring of course, but more narrowly so than his
great Storm over Asia
Maps to the Stars (2014) – a Hollywood of
disturbing rituals, excesses and breakdowns; fascinating, if not Cronenberg’s
most vital work
Tout le monde il en a deux (1974) –
rampantly porny Rollin work, built on a ritualistically dressed-up tussle
between free and coerced sex
Boogie Nights (1997) – Anderson’s
tremendously entertaining breakthrough, one of cinema’s more unique
explorations of family structures
Eroica (1958) – two wartime stories from
the astonishing Munk, fully demonstrating his great range of cinematic fluidity
and human awareness
A Most Wanted Man (2014) – Corbijn’s
defiantly generic Le Carre adaptation, perhaps great for connoisseurs of
comparative movie spycraft
Rashomon (1950) – gripping for
Kurosawa’s narrative cleverness & bold visualization, more than for its
often-cited philosophical reflections
Blackhat (2015) – in a necessarily uneasy
fusion, Mann applies his shimmering, tangible classicism to a new world of
power and threat
All these Women (1964) – Bergman’s arch,
male-effacing comedy is pitched very differently from his usual work, but it
mostly just irritates
The Jersey Boys (2014) – Eastwood embraces
the material’s artificiality, playing with ideas of memory, of the slipperiness
of experience
The Spider’s Stratagem (1970) – an
endlessly alluring early Bertolucci work, forged from his intuitive mastery of
analytical, probing cinema
Belle (2013) – Asante’s historical drama
is aesthetically conventional and overly glib, but skillfully sets out its
complexities and ironies
Rape (1969) – Lennon/Ono’s unsettling
tracking of a woman, implicitly questioning our collective complicity in multiple
forms of violation
A Pigeon sat on a Branch Reflecting on
Existence (2014) – and did it damn well, thanks to Andersson’s mind-boggling
exactitude and scope
The Fortune (1975) – an extremely minor
interlude for Nichols and all involved; striking ending, but feels like you
wait a long time for it
The Face you Deserve (2004) – one’s
interest in Gomes’ unique, super-creative exploration of male anxiety
ultimately dwindles a bit, sadly
Too Much Johnson (1938) – restoration of
lost Welles footage, seemingly showcasing modest early inventiveness, and a
youthful playfulness!
The Wonders (2014) – Rohrwacher’s family
study is most fascinating at its Erice-like simplest; its grander inventions
are a little puzzling
Gimme Shelter (1970) – the Maysles’ Rolling
Stones film, justly famous for some of the most scarily vivid concert footage
ever recorded
Warsaw Bridge (1989) – Portabella’s
typically ravishing, challenging meditation on the generation of meaning and
beauty in art and life
Johnny Guitar (1954) – Ray’s legendary
Western, endlessly and gleefully analyzable for its intensely realized
psychological
maneuvering
Up the Yangtze (2007) – Chang’s film is a
great eye-opener, even if it’s somewhat burdened with clichéd “great
documentary” trappings
Play it as it Lays (1972) – Perry’s rather
stunning exploration of existential despair, artfully hyped-up and yet
chillingly naturalistic
No Man’s Land (1985) – another fascinating
meditation by Tanner on inner and outer states of exile, if perhaps not his most
fully-developed
The Awful Truth (1937) – McCarey’s joyous,
wonderfully transgressive comedy; the very epitome of the kind of film they
don’t make any more
From what is before (2014) – Diaz’s very
long but immensely rewarding, unsettling, morally anguished study of utter
induced destruction
Vault of Horror (1973) – Baker punches
home the formula as if he, rather than the central storytellers, had been
living it for eternity
The Mill and the Cross (2011) – Majewski’s
deep exploration of a painting spawns an often ravishing dialogue between
worlds and forms
Daguerrotypes (1976) – Varda’s lovely,
nostalgia-provoking record of her neighbourhood finds poignant magic in life’s
mundane repetitions
Computer Chess (2013) – Bujalski’s
super-smart comedy comes to suggest a weird, troubling synthesis; chess’s
infinite possibility unleashed!
The Quiet Duel (1949) – Kurosawa’s stark,
somewhat overdone drama of disease and sacrifice; moving for Mifune’s repressed
pain and desire
American Sniper (2014) – Eastwood’s huge
hit compels for its pared-away qualities, supporting multiple
political/cultural interpretations
The Conformist (1970) – Bertolucci’s dark
masterpiece is a stunning mesh of thematic and psychological richness, and
compositional mastery
Keep the Lights On (2012) – Sachs’ modest
but quietly impressive film, on how the weight of time and hurt gradually
blocks out the flame
A Report on the Party and the Guests
(1966) – Nemec’s fable of influence and coercion, allowing as much absurdist
parallelism as one wishes
Guardians of the Galaxy (2014) – Gunn’s
well-calibrated nuttiness and oddball intimacy provide a nice trail through the
digital overkill
The Bride wore Black (1968) – an
intriguing blend of well-sustained “Hitchcockian” surface and milder-mannered
Truffaut-ian subtext
Third Person (2013) – it’s clear from the
start this will be another Haggis waste of time; the only surprise is in
finding out just how much
Strike (1925) - if not the “best” of
Eisenstein’s films, the easiest to succumb to as pure narrative and (sometimes
crude) visceral assault
Top Five (2014) – given an overly busy
set-up, it’s a surprise Rock’s movie breathes as much as it does; no surprise
about the laughs though
Le gai savoir (1969) – Godard’s almost
spiritually austere work of cinematic divestment, reexamining the nature of
knowledge and meaning
ABBA the Movie (1977) – by Hallstrom’s
later standards, almost a gritty, cinematically fearless, no-holds-barred
expose (well, almost)
Oil City Confidential (2009) – Temple
can’t resist overly revving up his Dr. Feelgood documentary, but a grounded
portrait still emerges
Three Faces of a Woman (1965) –
Antonioni’s introduction has a recognizably desolate quality, contrasting oddly
with the other two segments
Beyond the Lights (2014) – mostly
conventional material, highly elevated by Prince-Bythewood’s awareness &
empathy, & by the fine Mbatha-Raw
L’opera mouffe (1958) – Varda’s early
short already illustrates her very distinctive brand of cinematic joy and
wondrous fearlessness
Trash Humpers (2009) – well, Korine’s
trash humpers aren’t really my type, but as visions of America go, I’ll take it
over Ted Cruz’s
Bed and Sofa (1927) – Room’s Stalin-era
Jules et Jim, vibrant with the pulse of new times, increasingly interesting for
its sexual politics
Words and Pictures (2013) – Schepisi’s
comedy does full justice to neither, but builds reasonable goodwill through its
fluency and sincerity
Pearls of the Deep (1966) – a five-part
Czech New Wave anthology, overflowing with creative energy, although
periodically rather grating
Still Alice (2014) – Glatzer/Westmoreland
demand little more of the viewer than reverent sympathy, which Moore of course
makes easy to give
A Geisha (1953) – one of Mizoguchi’s
finest, most quietly devastating films, chillingly frank about the reality of
the geisha’s existence
Tales from the Crypt (1972) – Francis’
horror anthology delivers reliably no-nonsense, if often somewhat
elderly-feeling squeamishness
A Zed & Two Noughts (1985) –
Greenaway’s gorgeously rich intellectual frolic, dense with intertwining
concepts of organization and decay
Master of the House (1925) – lacks the
intense depths of Dreyer’s later works, but it’s notable for its detailed
examination of domesticity
While we’re Young (2014) – Baumbach’s
become virtually a brand for reliable mature pleasure, but this particular
entry is a bit mechanical
Shoot First, Die Later (1974) –
no-nonsense Di Leo drama ends by asserting crime doesn’t pay, but doesn’t make
honesty look so hot either
Eyes Wide Shut (1999) – Kubrick’s final
film is a grippingly strange deep dive into the convolutions of desire,
repression and power
Street Without End (1934) – Naruse’s
highly engaged, socially aware slice of life, focusing ultimately on a woman’s
strength, and its cost
Afternoon Delight (2013) – Soloway’s
comedy has much of the frankness and emotional acuity of her major subsequent
achivement, Transparent
La notte (1961) – maybe Antonioni’s most
exacting work of his great period, befitting its exploration of spiritual
contortment & maroonment
Selma (2014) – DuVernay’s sombrely
elegant, anguishingly ever-relevant investigation, far outpacing conventional
historical reconstruction
Que viva Mexico! (1932) – reconstruction
of Eisenstein’s unfinished work conveys its vast ambition, grappling with both
beauty and cruelty
Far from the Madding Crowd (1967) –
Schlesinger’s adaptation, although amply watchable, might be viewed as overly
passive in various ways
Le
Week-End (2013) – the film’s bittersweet character dance always feels too tidy
and compressed; if only Cassavetes had gotten hold of it..
Miss Julie (1951) – Sjoberg elegantly and
resourcefully “opens up” the play, while preserving its charged, fascinating
shifts and shadings
Kramer vs. Kramer (1979) – still effective
as an upper-class weepy, but Benton’s reticence and tidiness resist real pain and
discovery
Epidemic (1987) – early
expectation-confounding von Trier film is most appealing at its lightest;
overall, it’s a bit academic & distancing
Intolerance (1916) – one can enjoy
Griffith’s epic melodrama (often a bit bewilderingly) as spectacle, but little
in it resonates deeply now
Persepolis (2007) – an effective rendering
of Satrapi’s autobiographical material, although impacting mostly as an
accomplished curio
Pretty Baby (1978) – Shields is still
fascinating, but Malle’s then-controversial provocations and ambiguities seem
overly studied now
Hard to be a God (2013) – German’s
“science-fiction” epic like no other, astoundingly well-realized, knowingly
oppressive and exhausting
Meet Marlon Brando (1966) – Brando’s
gleeful waywardness with interviewers makes for as great & evasive a show
as many of his actual roles
Slumming (2006) – Glawogger’s comedy is
initially rather grating, but intriguingly works its way to an unexpectedly
reflective final stretch
The Sailor who fell from Grace with the
Sea (1976) – Carlino’s diverting but pretty silly blend of romanticism,
erotica, and creepy kids
Clouds of Sils Maria (2014) – Assayas
crafts some classic art-movie pleasures and complexities, while musing
seductively on changing times
Un chien andalou (1929) – in Bunuel’s
hands, aggressive incoherence becomes a form of grace, measured by
unforgettably potent images
Videodrome (1983) – still an amazing
Cronenberg vision, even if his fleshy fusions are some way from our sterile
screen-induced reality
The Cat o’ Nine Tails (1971) – one of Argento’s more mundane works, seldom very striking either as a narrative or as a
cinematic rush
Fading Gigolo (2013) – Turturro’s reticent
approach, and the film’s gentle acting, emphasize the fading rather more than
anything else
Torment (1944) – Sjoberg’s ungainly drama
is most compelling for the sense of scriptwriter Bergman developing his
inclinations and concerns
Wild (2014) – Vallee vividly weaves
together experience, emotion and memory; but the film never seems particularly
important or compelling
Army in the Shadows (1969) – Melville’s
Resistance drama charts the war’s brutal spiritual toll; the loneliness behind
each act of heroism
Upstream Color (2013) – Carruth’s consistently
wondrous, very high-concept but intimately grounded flow of heightened moments
and mysteries
By the Law (1926) – Kuleshov’s intense
drama of crime & punishment; fascinating as cinema, a bit less so as
moral/psychological exploration
A Most Violent Year (2014) – Chandor’s
somewhat underwhelming drama, most intriguing for how it undercuts the apparent
promise in its title
The Demoniacs (1974) – Rollin’s disjointed
mumbo-jumbo is more striking than it deserves to be, if only for its rather plaintive
weirdness
The
Double (2013) – Ayoade’s fable rapidly becomes thin and aesthetically limited,
granted that it hardly seems intended as anything else
Libel (1959) – Asquith’s actor-friendly
but largely staid, contrived courtroom drama, modestly enhanced by its subtext
of class envy
Winter Sleep (2014) – Ceylan’s long study
of character & conscience is very fine, although the work of a careful
builder more than of a poet
Killer’s Kiss (1955) – a tight little
crime/chase narrative, transformed throughout by Kubrick’s fascinated eye and
simmering ambition
Ushpizin (2004) – Dar’s film sometimes
feels headed toward stuffiness, but is truly deeply felt, and more subtle than
it initially appears
Thunderbolt and Lightfoot (1974) – the
film’s beauty & confidence surely indicated Cimino would go places; could
never have guessed where…
Hurlevent (1985) – Bronte as a spatial and
thematic labyrinth; the result is entirely Rivette, but less rewarding than his
other works
Regeneration (1915) – Walsh’s early
gangster film has relatively epic ambition, and a strong affinity for social
deprivation and division
White God (2014) – Mundruczo’s dog epic is
pretty interesting as a logistical exercise, not so much thematically, or in
any other way
Confessions of a Driving Instructor (1976)
– a formulaic crowd-pleaser, rather weirdly interesting for its air of
class-driven joylessness
The Theory of Everything (2014) –
actually, it’s mostly the same old theories of tastefully life-affirming,
conventionally well-acted cinema
Les dames du bois du Boulogne (1945) –
Bresson’s piercing study of desire & manipulation, more tolerant of
conventions than his later work
Carrie (2013) – hopes of a distinct
perspective from Peirce are mostly unrealized, perhaps constrained by the
material’s inherent hysteria
The Language of Love (1969) – odd, often
stilted Swedish amalgam of sober instruction and flagrant titillation; “dated”
hardly captures it…
Beyond Rangoon (1995) – Boorman’s drama
maintains strong momentum and humanitarian outrage, but many aspects seem
simplistic and untextured
The Enigma of Kaspar Hauser (1974) –
Herzog’s chronicle of difference explains little, but it’s a memorable exercise
in multi-faceted oddity
Edge of Tomorrow (2014) – Liman’s
live/die/repeat opus, imaginative enough in some ways to make you regret all
the ways in which it isn’t
Le Testament du Docteur Cordelier (1959) –
Renoir’s compassion for human desire and weakness elevates otherwise hokey
Jekyll/Hyde material
Bad Words (2013) – Bateman’s debut is drearily tidy and smooth - too
conventionally “good” for all the “bad” stuff to make it worthwhile
Bay of Angels (1963) – Demy’s drama is
finely attuned both to gambling’s idiocy & its intoxication, as he surely
was to those of film itself
The Fall of the Louse of Usher (2002) –
Russell’s deliriously silly home movie at least has an age-defying,
semi-infectious joy about it
Ryan’s Daughter (1970) – Lean’s epic is
far less passionate than a plot summary might seem to demand, yielding a rather
beautiful enigma
The Silence before Bach (2007) – the
graceful, fun complexity of Portabella’s methods meshes into an evocative,
nicely contemporary tribute
The Three Caballeros (1944) – odd Disney
patchwork; trivially pleasant, tediously dated and weirdly trippy in more or
less equal measure
The Autobiography of Nicolae Ceausescu
(2010) – Ujica’s brilliant assembly of imposing official truths and
simultaneously chilling falsehood
The Prisoner of Second Avenue (1975) –
mostly conventional piece of anxiety-ridden Simon shtick, somewhat interesting
as a time capsule
Wild Tales (2014) – of course, wildness
alone only takes you so far; most interesting for Szifron’s intermittent shards
of social commentary
The Professionals (1966) – none more
professional than Brooks himself, as compared to Peckinpah’s feverish genius
with similar material
Fallen Angels (1995) – a near-peak in
Wong’s shimmering cinema of connection & memory, thrillingly intertwining
the fleeting & the enduring
Theatre of Blood (1973) – what a mix –
imaginatively nasty lowbrow thrills, and an actual relish for hammy
Shakespearean declaiming!
Robinson in Ruins (2010) – Keiller’s
meditation on landscape and consciousness, charting a unique intersection of
serenity and ominousness
Storm over Asia (1928) – Pudovkin’s
Mongolian epic is a brilliantly cinematic dissection of exploitation, with an
unforgettable finale
Jodorowsky’s
Dune (2013) – Pavich’s lively telling of the “visionary” failed project likely
goes down easier than the work itself would have
Eden and After (1970) – Robbe-Grillet’s
fragmented (even for him), beautifully chilly enigma navigates between the
confined and the unbound
Tattoo (1981) – the skin art is lovely,
but the stuff with three-dimensional people is mostly a silly puddle of lurid
black ink
Loin du Vietnam (1967) – furious
multi-director tapestry; functions now as an amalgam of historical record and
ambiguous aesthetic mirage
Blood Ties (2013) – Canet’s attempt at an
American movie of classic sweep and impact never acquires much power,
conviction or atmosphere
Madame de…(1953) – Ophuls’ apparent
beautiful frivolity reveals itself as a highly serious expression of society’s
restrictions on women
Whiplash (2014) – Chazelle’s overpraised,
no more than superficially gripping film is highly artificial on matters of
life and art alike
Company Limited (1971) – Ray’s study of
the price of success has all his piercing subtlety, even if the overall
trajectory is a bit forced
Perfect Sense (2011) – Mackenzie’s
high-concept film is a highly intriguing, observant expression of humanity’s
fragility and resilience
Black Panthers (1968) – Varda’s fascinated
brief portrait of the movement may temporarily stir you into forgetting our
despairing present
Force majeure (2014) – Ostlund’s handsome
study of relationship complexities doesn’t ring very true, for all its
well-crafted ambiguities
No comments:
Post a Comment