An elegy to the power of a lost era of filmmaking through the search for a lost actor of that generation. Hard to fault any movie with an ersatz performance of "My rifle, My Pony and Me" and there are a number of finely observed scenes, but it drags as a whole and never reaches the emotional resonance that it aims for.
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Le Cercle Rouge 1970
All-time classic heist sequence that takes dead aim at Rififi's reputation - and Melville claims that he was offered that script - made all the better by a fantastic brotherhood of thieves between Delon, Montand, and Volonté. But surprisingly the real emotional arc belongs to the cop who hunts them down, embarrassed to recognize by the film's conclusion that man might be born innocent but it doesn't last long.
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The Grifters 1990
A nasty little neo-noir wherein John Cusack plays a small-time hustler torn between the affections of two femmes fatale, one of whom unfortunately is his mother. Both of the women seem to actually care for our protagonist, and Annette Bening's floozy is willing to kill for him. But both are clearly willing to steal from him if the timing is just right. Clearly Cusack's cynical mentor is correct: stick with the short-con, avoid partners, assume that you're the mark even…
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Pool of London 1951
Fantastically underseen and underrated British noir with spectacular location work on the docks of London, a heist set piece and chase sequences reminiscent of and on par with Hitchcock, and a tough look at racism that gives the film a bitter aftertaste despite its quick and tidy conclusion.
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