Quote:
A Cinderella tale of the very best kind, Sabrina is a powerhouse of talent. Under Billy Wilder’s direction, Audrey Hepburn, Humphrey Bogart, and William Holden bring alive a wonderful love story full of comedy and drama that continues to surprise and delight with its unexpected turns. This new Centennial Collection release appears to not just add a bunch of new extras, but it also looks like the film image has gotten a second scrubbing. Well worth an upgrade. Read More »
Detour de Force presents the world of thoughtographer Ted Serios, a charismatic Chicago bell hop who, in the mid-1960’s produced hundreds of Polaroid images from his mind. Constructed from 16mm documentation of Serios’s sessions and audio recordings of Serios speaking with Dr. Jule Eisenbud, the Denver psychiatrist who championed his abilities, the film is more ethnography than biography, portraying the social and scientific environments in which Serios thrived. The film foregrounds the state of image and sound recording technologies of the period as essential to the emergence of Serios’s psychic photography. It is also a document of the filmmaker’s encounters with the archival materials themselves. The film enjoys a rich sound environment by Ernst Karel, Kyle Bruckmann and Guiseppe Ielasi.Read More »
Searching for John Ford by Joseph McBride wrote:
Shot quickly at Fox and ready for use by March 1941, the black and white Sex Hygiene is suitably horrifying but also somewhat tongue in cheek. Coing directly from making Tobacco Road, Ford was in a bawdy mood when he filmed the scenes of the soldiers (including George Reeves, later known as TV’s Superman) playing pool in an army canteen before one young man makes the mistake of slipping off to a brothel. The results of his and others’ sexual follies are displayed in a graphic illustrated lecture by a medical officer intoned in stentorian fashion by Charles Trowbridge, who later was promoted by Ford to admiral and/or general in They Were Expendable, When Willie Comes Marching Home and The Wings of Eagles. Perhaps it is fitting that the one Ford film dealing explicitly with sexual themes makes the subject seem so thoroughly revolting.Read More »
Roger Ebert wrote:
The camera’s freedom to move is taken for granted in these days of the Steadicam, the lightweight digital camera, and even special effects that reproduce camera movement. A single unbroken shot can seem to begin with an entire city and end with a detail inside a window — consider the opening of “Moulin Rouge!” (2001). But the camera did not move so easily in the early days.Read More »
Synopsis wrote:
When Los Angeles private detective, Harry Moseby is hired by a client to find her runaway teenage daughter, he stumbles upon a case of murder and artifact smuggling.
Vincent Canby wrote:
Arthur Penn’s Night Moves, the director’s first film since the epic Little Big Man five years ago, is an elegant conundrum, a private-eye film that has its full share of duplicity, violence, and bizarre revelation, but whose mind keeps straying from questions of pure narrative to those of the hero’s psyche.Read More »
Plot: A fairy-tale ball, first kisses, broken hearts, and a beautiful princess wooed by a handsome prince. So much can happen during One Romantic Night! Two great ladies of the screen who could scarcely be more dissimilar – waiflike, vulnerable Lillian Gish (in her Talkie debut), who excelled at heart-wrenching melodrama, and barrel-figured, bulldog-faced Marie Dressler, who excelled at everything – make a marvelous team as a monarchical mother and daughter in a romantic comedy about love and marriage among the crowned heads of Europe. Based on Ferenc Molnar’s play The Swan, the film was remade in 1956 featuring Grace Kelly in Gish’s role, just before she became the real-life Princess Grace of Monaco. From the DVD!Read More »
We’re Going to the Zoo (2006)
Quote:
This is a story about a real life brother and sister and their journey to the zoo. On their way, they accidentally pick up a hitchhiker.Read More »
Quote:
The story of WikiLeak’s editor-in-chief Julian Assange as seen by documentary filmmaker Laura Poitras.Read More »
Qoute:
The story behind the rediscovery of “Who’s Crazy?,” a 1965 film directed by Thomas White that’s screening at Anthology Film Archives tonight through Sunday, is so unusual that it raised my suspicions along with my curiosity. The movie screened at the Cannes Film Festival in 1966, but it hasn’t been shown publicly since then and was widely believed to be lost. (Also, White never made another feature.) In its absence, the movie was famous for its soundtrack—in particular, for its music score, by the central jazz modernist Ornette Coleman and his trio.Read More »