Michael says: “Known as the father of African film, Ousmane Sembene made a bold directorial debut in1966 with the spare but withering commentary in BLACK GIRL. The original French title of the film is La noire de…, which means ‘The black girl of…’,
Michael says: “Sharrock is the Scottish director who recently scored big with Chlotrudis viewers for his second film, LIMBO. PIKADERO is his debut film released in 2015. It revolves around a young couple living in the Basque Country of Spain
Brett says: “As fan of the underexposed and underrated anthology spookfest SOUTHBOUND, it was a no-brainer to take a seat at director David Bruckner’s latest film THE NIGHT HOUSE, especially with the notion of a major motion picture studio backing
Michael says: “It was the 17th film Bergman directed, but it was his breakout. Based on his play, ‘Transitions’ THE SEVENTH SEAL follows a knight, Antonious Block, returning from the Crusades with his squire, to find his homeland ravaged by
Michael says: “From his crazed musicals (TOMMY; THE BOY FRIEND) to his hallucinogenic movies (GOTHIC; THE RAINBOW; LAIR OF THE WHITE WORM) I knew what I was getting into when I decided to watch ALTERED STATES. I’ve always been wary,
Thom says: “Out-of-hand I see all Criterion releases that come out if previously not watched by me. Most of their releases are anywhere from good to extraordinary (although very occasionally they are poor) and this one is an outright masterpiece.
Thom says: “Surveying director Rose’s rather run-of-the-mill curriculum vitae (IMMORTAL BELOVED, PAPERHOUSE, CANDYMAN, etc.), I had no reason to suspect I’d enjoy this film so much & would have probably passed on it were it not featuring the indomitable Ms.
Michael says: “After seeing ORPHEUS, I had to finally check out BEAUTY AND THE BEAST, the film that first put Jean Cocteau on the map, and his first feature length directorial narrative. Released in 1946, this French romantic fantasy film
Michael says: “I find Elaine May’s career rather fascinating, although I haven’t seen a lot of her work more of her writing, some of her acting, and little of her directing. I’m hoping to change that. A NEW LEAF, released
Michael says: “While not necessarily the most original idea, the execution of this film about a young couple, pregnant with their first child, and suddenly facing the terrifying reality of transitioning into parenthood, with their parent friends talking about their
Chris says: “Interesting that Brian De Palma made this between PHANTOM OF THE PARADISE and CARRIE: it feels almost beholden to reverently emulating (rather than simply paying affectionate homage to) a certain Hitchcock film (Bernard Herrmann score and all!) except
Chris says: “Re-watched with John Waters’ commentary track (recorded for the 25th anniversary edition), which makes it far more bearable (though still not as fully realized as his next film, the glorious FEMALE TROUBLE.) Best revelation: on people walking out
Chris says: “Super fun heist flick where Robert Redford’s self-seriousness greatly benefits from playing off the quirkier likes of George Segal, Ron Leibman and the ever-underrated Paul Sand. It has neither the grit nor the gravitas of director Peter Yates’
Chris says: “I don’t know why it took me so long to watch this. Sure, you can adequately summarize it in one or two sentences, but how it gets from point A to point B conveys Sidney Lumet’s mastery of
