Usually, films about female sexual awakening and newfound sexuality are often told from the point-of-view of male directors. I'm not knocking this, but they can sometimes feel a little exploitative, salacious, and misogynistic. They can include more female nudity than male nudity, especially for the wrong reasons or it's there just to be there. Meanwhile, it's refreshing to see this type of subject matter from a woman's point-of-view, and Bette Gordon's 1983 stunning neo-noir Variety does just that while also providing a revealing character study of a woman rediscovering herself. The film tells the story of Christine (Sandy McLeod), a
Results tagged “Drama”
A moody and very provocative depiction of female obsession and sexuality.
Claire Denis' 1999 masterpiece of jealousy, erotic/repressed desire, and personal destruction makes it's long-awaited debut to the Criterion Collection.
The great and visionary director Claire Denis is one the greatest cinematic poets of our time. She's a provocative and original filmmaker who has crafted an extraordinary oervue of films that offer richly observed and perfectly tuned portraits of cultural alientation and emotional/physical tension. Whether contemplating a father/daughter relationship (35 Shots of Run), the harmful awakenings of women (White Material, Let the Sunshine In), or erotic body horror (Trouble Every Day), she continues to be a singular voice of not just for female filmmakers, but for cinema as a whole. However, her second film, 1999's Beau Travail, is considered to
A still fresh, unapologetically honest portrait of a woman's reawakening.
As I mentioned in my Pick of the Week recently, the 1970s were a very pivotal time for women. There was the coming of feminism, Gloria Steinem, bras being burned, Mary Tyler Moore, etc. Arguably unlike any other decade, maybe besides the 1980s, women started to have their own say, thoughts, feelings, sexual needs, and boundaries. They didn't let men define them. They were beginning to find themselves. They had careers, children, and independence. They allowed themselves to clip the strings of men and grow their own wings. I think that director Paul Mazursky really took to that seriously with
Although it's not a perfect movie, I still enjoyed it.
Okay, let's just get this out in the open. The whole "boy falls in love with girl, girl falls in love with boy, complications and peer pressure threaten to tear them apart, but they overcome their differences and end up together" has been done to death, to the point of almost parody. However, if you put that in hands of the late John Hughes and his world of teenagers, then maybe you have something. Written by Hughes and directed by Howard Deutch, Pretty in Pink (1986) does just that. It also shows the growth of Molly Ringwald, especially as an
Flicker Alley brings much needed new life to a nearly obscure, minimalist, but extraordinary gem of a film.
What I truly love about Independent film is the attention to people and places, and the issues that take place underneath the surface. There are no car chases, explosions, or overbaked spectacles. It's about the realities of characters trying to live each day, with regret, sadness, but also dreams of a better life/future. And even better, it's always a privilege to discover unknown/neglected works of cinematic art, because you never know when you may find your next masterpiece. This is definitely the case with director Joseph L. Anderson's exquisite 1967 small wonder of a film, Spring Night Summer Night, which
The late, great director John Schlesinger crafts a sad but uproarious portrait of a young man's inner and outer life.
The British New Wave was an innovative, but short-lived cinematic movement during the early '60s to the early '70s. It was a category of film that realistically showcased the struggles of everday people of the working class. Directors like Karel Reisz, Jack Clayton, and Lindsay Anderson, to name a few, told their own stories, especially of the 'angry young men', who behaved and lived their own way to try and escape their rather dull surroundings. I think John Schlesinger, the late openly gay filmmaker, did just that with his 1963 classic Billy Liar, but with a comically surreal twist. Film
In his new series, Game of Thrones' Kristofer Hivju gets to play not just one larger-than-life character, but twin brothers who couldn't be more dissimilar - or more at odds with one another.
Norwegian actor Kristofer Hivju is probably best-known to most avid television viewers as the ginger-haired, love-lorn Tormund Giantsbane from HBO's Game of Thrones. Hivju made an indelible impression as the Wildling with a huge personality who would defend his BFF Jon Snow to the death against dragons, Lannisters, and whatever else stood in their way. In his new series Twin, Hivju gets to play not just one larger-than-life character, but twin brothers who couldn't be more dissimilar - or more at odds with one another. Adam and Erik (Hivju) haven't spoken to one another for fifteen years. Erik has been
A beloved 1942 Bette Davis classic gets a stellar release from the Criterion Collection.
With her saucer eyes, unparalled intensity, and unbridled non-vanity, Bette Davis has been and still is regarded as one of the greatest stars in Hollywood history, and rightly so. She always brought her signature style to every role she portrayed, even the lesser ones, with honesty and unapologetic passion. Arguably, her performance in Irving Rapper's celebrated 1942 adaptation of Olive Higgins Prouty's novel of psychotherapy and family dynamics: Now, Voyager, was her at the pinnacle of her gifts, at least until her most cherished role as Margo Channing in All About Eve. She plays Charlotte Vale, a nervous and neurotic
Dying over and over shouldn't be fun, but Koko-di Koko-da sure is a creepy joyride.
I’ve never been a huge fan of horror movies. Jump scares, bloody creatures, and demonic possessions aren’t really my cup of tea. I see them all as one movie: a predictable, harrowing couple of hours that never ceases to keep me up at night. Johannes Nyholm’s Swedish drama Koko-di Koko-da just changed my mind. Slapping together Groundhog Day with Cabin in the Woods, Nyholm produces a low-budget, comedy-horror-drama of sorts that extends the boundaries of genre. You won’t be falling out of your seat or covering your eyes with your hands while watching the film, you will be chuckling at
Briskly paced, excellent acted late 80s drama stars a disillusioned James Woods and a young, idealistic Robert Downey Jr.
True Believer has been released on Blu-ray in one of Mill Creek's Retro VHS Look packages. While it's the same dimensions as a Blu-ray case, the slip-case over the disc has an old VHS cover on it, complete with a fake genre sticker attached. True Believer's says "Drama" and harkens from an era where drama was one of the dominant genres for motion pictures, back when it was assumed that an actual adult might, under some circumstance, accidentally wander into a movie theater and want to watch something that might arrest their intelligence. And True Believer is one of those
The Snake Pit Blu-ray Review: One of the First and Best Motion Pictures to Bring Mental Illness to Life
A controversial, watershed classic that taps into a relatable topic that afflicts many of us.
The topic of mental illness today is still a really prickly issue that may people refuse to discuss with others. Either they are dealing with it and don't want anyone else to know, or that they may have someone in their family that's suffering from it. However, there are modern films, such as One Flew Over a Cuckoo's Nest (1975), A Beautiful Mind (2001), and Melancholia (2011) that depict in their own way, the confusion and misunderstandings that comes with mental illness. Way before all of those films, the 1948 classic The Snake Pit, directed by Anatole Litvak, was one
A beguilingly weird swan dive into twisted childhood as if made by David Lynch and Terrence Malick.
When it comes to youth, the rites of passage are always paved with dark uncertainty and a celebral outlook on life. The imagination of children seems to come from bouts of incoming trauma and fear of growing up in a world that often doesn't share the same viewpoint. In a shocking way, The Reflecting Skin, director Philip Ridley's 1990 nightmarish portrait of American Gothic seen through the eyes of a child, definitely does just that while reaching levels of boldness that most directors wouldn't dare tread. Set in 1950s rural Idaho, mischevious eight-year-old Seth Dove (Jeremy Cooper) lives with his
Diamonds of the Night Criterion Collection Blu-ray Review: The Story of Youth Under Fire with a Brilliantly Fractured Eye
A startling and very tense debut from the most unflinching director of the now-ancient Czechoslovak New Wave.
There are many similarities between Luis Bunuel and underrated auteur/director Jan Nemec. They both use surrealism to dictate the often limitless boundaries of human behavior. When it comes to their films, you don't really know which is reality, and which is fantasy. However, you want to watch their cinema repeatedly to uncover more details that missed the first time around. While Bunuel depicts human behavior with a satirical edge, Nemec directs his films with surrealist details, but which a more serious viewpoint, especially when it comes to war and how it affects people in a certain time and place. This
Chloe Grace Moretz's amazing performance anchors this timely, funny, and at times difficult film of a sadly still existing subject.
The fact that conversion therapy still exists is appalling to me, and it is still a controversial topic that rarely gets talked about. However, there have been at least a few films that dealt with it in their own satirical or dramatic ways, such as But I'm A Cheerleader (1999), and last year's Boy Erased. But for me, I think that director Desiree Akhavan's understated and challenging The Miseducation of Cameron Post, also from last year, gets it right the most with its mix of humor, drama, and honesty. Based on the acclaimed novel by Emily M. Danforth, the film
An animated drama about a school bully picking on a deaf girl tells a story quiet about redemption and consequences.
There's a certain style in Japanese storytelling and film-making where the important things are what is not shown, what is not said, what is not expressed. The subtext between the characters tells the story. Both Uzo and Kore-eda, in very different ways, based most of their careers on putting together stories where the truth beneath the veneer is only revealed by implication and by accident. By a simple gesture. A minor scene. Animation is a broader art form than live-action film-making, since all the visuals are drawn and, of course, by nature abstracted. There can be nuance, but only up
A remarkable and impeccably acted portrait of 1950s suburban malaise from the early 2000s.
The partnership of acclaimed director Todd Haynes and actress Julianne Moore should be ranked up there with the collaborative works of Scorsese/De Niro, Allen/Keaton, and Burton/Depp, among others. Haynes and Moore have crafted some major and incredible films in the past two decades, such as Safe (1995), I'm Not There (2007), and Wonderstruck (2017). However, 2002's Far From Heaven, is where they both hit their stride. With this film, you truly get the essence of how brilliantly they work together. The story (an obvious tribute to Douglas Sirk's melodramas, especially All That Heaven Allows) is set in 1950s Connecticut, where
As unflinchingly honest and unforgiving as a film can ever get.
War is Hell. They're have been many films that tackled the often difficult subject of war, and its effects on humanity. And arguably none come more terrifying and brutal than Ingmar Bergman 1968's stunner, Shame. Although less remembered than some of his other films, such as The Seventh Seal, Persona, and Cries and Whispers, it's no less harsh and bleak, as well as unflinchingly honest and unforgiving as a film can ever get. Bergman mainstays and film legends Liv Ullmann and Max Von Sydow star as Eva and Jon Rosenberg, former musicians who escape the city engulfed in a civil
Kino Lorber places Russell Mulcahy's heist stinker starring Kim Basinger and Val Kilmer on display for you to give or take.
Like Kino Lorber's recent release of 1974's The Midnight Man, 1993's The Real McCoy is another Universal production filmed in the South about an ex-con who finds it isn't easy to change their stripes (so to speak). Of course, comparing The Midnight Man to The Real McCoy is like juxtaposing Highlander with Highlander 2: The Quickening. The subtle film reference joke there being that the latter three titles were all manufactured by a filmmaker one either loves or hates (or both, if they're a Highlander fan): one-time pop music video director Russell Mulcahy. Here, former Vicki Vale Kim Basinger stars
One of the very best films of 2018.
Director Hirokazu Kore-eda has made some of the best portraits of humanity for over two decades. These are stories of human beings in constant states of emotional and physical limbo that seem rare, honest, and fresh. They also describe certain parts of society that are usually and often overlooked in film. These amazing films include After the Storm, Still Walking, Nobody Knows, and Like Father, Like Son. However, I think his wonderful 2018 masterpiece, Shoplifters, is where he has reached his zenith. The film takes place in the margins of Tokyo, where a dysfunctional "family" of misfits makes ends meet
A very underappreciated masterpiece of toxic masculinity and bleak relationships.
When it comes to underappreciated figures of film, none are more legendary and important than Elaine May. After a successful series of improvisational comedy routines from the 1950s with the late, great Mike Nichols, she later developed a career as a very talented director and screenwriter with a deft and savage eye for complicated relationships. Even with brilliant films such as A New Leaf (1971), The Heartbreak Kid (1972), and her 1976 masterpiece, Mikey and Nicky, she continues to be often overlooked, because apparently, filmmaking only belongs to men. This should never be the case, because when talking about May,