For a movie that doesn’t really work, there are several moments that are kind of extraordinary. Like the shot early on that lingers on Hunter (the film’s one undeniable element) on the bed while Dreyfuss answers the fateful phone call, and then the camera slowly moves closer to her while panning to frame a window in the background, where a streak of fiery light crosses across it and illuminates Hunter’s eyes. It’s a jaw-dropping moment that would be remembered more…
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Zatoichi and the Chess Expert 1965
The twelfth film in the Zatoichi series. After viewing the film immediately preceding this one, Zatoichi And The Doomed Man, I worried that the series would continue to move forward with that film's overtly self-reflexive approach. Well, the producers of the series must have had the same worry, because Zatoichi And The Chess Expert scales everything down, with original helmer Kenji Misumi once again bringing the blind swordsman back to a world more closely resembling reality. The plot is complicated…
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Late Spring 1949
This 1949 film is my fourth experience with the work of Japanese master Yasujiro Ozu. At this point, I feel I've become accustomed to the director's uniquely sparse filmmaking, yet with every viewing I come away marveling at the complexities that emerge from what initially seems like an incredibly simple approach. His films almost always concern themselves with the dynamics of family and the different outlooks on Japanese life between generations, but the specifics between each entry are given subtle…
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