At this point, I would watch Gena Rowlands emote at a fucking fruit basket.
This entire film is a goddamn powder keg, and you wonder why, and then you take a closer look at the characters and realize that they are all flesh on the surface and lit stick of dynamite underneath.
Everyone is unhappy and lamenting their station in society be it husband, wife, or callgirl. Well, everyone except Seymour Cassel’s Chet, who is either too naïve or too…
This is a detriment to human culture and the art of cinema. Nothing to do with the contents of the story, it's an important story that obviously needs to be told, so for Ramell Ross to proceed to then make this film in the most arrogant way possible is baffling.
Literally everything about this movie is ineffective except for the montage editing, which was like finding an oasis in a first person point of view desert. The form added nothing…
Another Kurosawa masterpiece that I can't believe isn't discussed more along with his other noir entries like "High and Low" and "Stray Dog". Despite its 2.5 hour runtime, there is no excess, this is lean and surgical with how precise every scene and sequence is. I love the Toshiro Mifune character here, the further in we go the more we must ask ourselves "how far is Nishi willing to go to exact his revenge? how far would we go to…
Another classic John Ford film from his early (technically his middle period when considering his silent films) period. All the sentimentalism and lyricism of Ford, but interestingly lacking the complexity and rigor of his later films. Still a masterpiece and a tour de force of gumption.
