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10,000 B.C. (2008) |
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"... a dull compendium of recycled adventure epic cliches." | |
Sean Axmaker | |
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4 Months, 3 Weeks and 2 Days (2008) |
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"My Generation: An Interview with Cristian Mingiu" | |
Sean Axmaker | |
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Airplane! (1980) |
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"Is it the best comedy ever made? I don't know, but it surely is the funniest.I stand by that. And don't call me Shirley." | |
Sean Axmaker | |
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The Banquet (2006) |
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"... transforms the drama of a young man caught between revenge and inaction into a dynamic tale of naked ambition and bold conspiracies in the chaos of China's Tang Dynasty." | |
Sean Axmaker | |
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Born to Dance (1936) |
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"The original songs by Cole Porter aren't all memorable, but they are lively and two of them are among is classics: "I've Got You Under My Skin" and "Easy to Love."" | |
Sean Axmaker | |
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Brick Lane (2008) |
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"Sarah Gavron's adaptation of Monica Ali's novel is a thoughtful and often evocative drama of identity and assimilation..." | |
Sean Axmaker | |
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Broadway Melody of 1936 (1935) |
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"The original story is credited to Moss Hart... but it was all about the production numbers and the spotlight dances by Powell." | |
Sean Axmaker | |
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Broadway Melody of 1938 (1937) |
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"It's ridiculous and tremendous fun, a veritable evening of entertainment with song and dance and comedy acts and a story that exists only to transition from one act to another." | |
Sean Axmaker | |
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Broadway Melody of 1940 (1940) |
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"... another ridiculous story that justifies itself in the historic one-time-only pairing of MGM's Queen of Tap Powell and the cinematic grace incarnate Fred Astaire." | |
Sean Axmaker | |
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Come Drink With Me |
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"The film soars on a lyrical mix of scruffy singing heroes, cross-dressing heroines, narcissistic villains, and fantastical action choreographed like dance." | |
Sean Axmaker | |
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Deep End (1971) |
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"Jerzy Skolimowski's darkly satirical psychological drama of young lust, sexual callousness, obsession, and fantasy is a different kind of coming of age film." | |
Sean Axmaker | |
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Dirty Harry (1971) |
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"[Don] Siegel is lean, terse director who is happy leave "Dirty" Harry the vivid kind of moral conundrum that makes movies interesting..." | |
Sean Axmaker | |
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Hancock (2008) |
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"... where [director Peter] Berg makes it work is by refusing to sacrifice the integrity of his characters for an easy ending." | |
Sean Axmaker | |
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Hobson's Choice (1954) |
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"Hobson's Choice is a crisply directed comedy of lively and quirky characters in a vivid world of social snobbery and working-class life..." | |
Sean Axmaker | |
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John Adams (2008) |
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"It's the most nuanced biographical portrait of a historical figure I've ever seen on the screen." | |
Sean Axmaker | |
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The Killing Fields (1984) |
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"First time feature director Roland Joffe shoots the drama with an unforced realism lent a terrible grace by the handsome images and smooth, unobtrusive long takes..." | |
Sean Axmaker | |
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The Last Emperor (1987) |
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"... the story of a boy raised to believe in his own divinity and a man who learns to become a simple human being against the backdrop of China's volatile history." | |
Sean Axmaker | |
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Married Life (2008) |
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"Knowledge is Change: An Interview with Ira Sachs" | |
Sean Axmaker | |
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Mother of Tears (2008) |
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"Mother of Tears is contrived, confused, clumsy, and quite simply dreadful." | |
Sean Axmaker | |
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My Blueberry Nights (2008) |
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"This is a kind of storytelling I love, about moments captured in time, about the sensuality of image, about the overwhelming emotional assault of loving and living." | |
Sean Axmaker | |
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Night of the Living Dead (1968) |
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"This little seat-of-the-pants regional production chewed up and spit out taboos like raw meat in a feral feeding frenzy." | |
Sean Axmaker | |
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Persepolis (2007) |
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"The Exile: An Interview with Marjane Satrapi" | |
Sean Axmaker | |
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Prizzi's Honor (1985) |
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"A blackly comic and insidiously sly love story in the unforgiving underworld of mob families and freelance criminals..." | |
Sean Axmaker | |
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Qui Êtes-vous, Polly Maggoo? (1966) |
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"[William Klein's] satire lacks the savagery or savvy or Godard but he does have fun playing with the image culture of his time..." | |
Sean Axmaker | |
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Redbelt (2008) |
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"I sounds crazy when you say it - David Mamet writes and directs a martial arts drama - but it’s a superb match of sensibility and genre." | |
Sean Axmaker | |
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La Roue (1923) |
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"[Abel Gance] is a master conductor who plays scenes like symphonies of feelings..." | |
Sean Axmaker | |
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Scarface (1932) |
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"The original Scarface, loosely but boldly based on the notorious life and legend of Al Capone, didn't invent the modern American gangster film. It blew it up." | |
Sean Axmaker | |
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Son of Rambow (2008) |
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"Garth Jennings on Son of Rambow" | |
Sean Axmaker | |
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Standard Operating Procedure (2008) |
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"By returning to the pictures over and over again, Morris shows the power of the photos, how the visual record became the only evidence that carried any power in the media..." | |
Sean Axmaker | |
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Touch of Evil (1958) |
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"Remembering Charlton Heston - An Appreciation and a 1998 Interview with the Actor" | |
Sean Axmaker | |
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Vampyr (1931) |
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"An early sound film shot with a distinctive and evocative silent film aesthetic, Vampyr is a horror movie as tone poem." | |
Sean Axmaker | |
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The Wackness (2008) |
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"... a modest but well-observed respite from the clichés." | |
Sean Axmaker | |
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