The textures of the 16mm and digital photography are beautifully preserved in Criterion’s transfer. The disc with the theatrical cut contains all the extras, while the second disc contains only the Cannes cut. Whether detailing organizationally elaborate tactics, such as the changing of station signs to make the Nazis believe that they’re crossing into Germany, or more action-oriented strategies, Frankenheimer imbues the film with a relentless, white-knuckle tension. While far from a comedy, Robert Parrish’s The Mob, from 1951, is also laced with a distinctly off-kilter wit, offering Broderick Crawford ample opportunity to sling whip-smart comebacks and sardonic insults with a frequency typically reserved only for Humphrey Bogart. The disc is also accompanied by a written essay by Haden Guest, included in the Blu-ray’s case. In a hypnotic image, Dylan and Patti Smith, framed through bars that suggest a prison, discuss the mythology of Superman, with Smith suggesting that the character could crush coal into a diamond. And Liu, of course, is making this film, growing obsessed by Zack’s abuse of Nina, which mirrors the abuse he and his mother weathered by his stepfather. Bob Dylan’s face is the central subject of Rolling Thunder Revue, and his eyes are alight with a fervor and intimacy that’re at startling odds with his playfully impenetrable interviews. The film appears to be split between awe and contempt. At first glance, That Obscure Object of Desire looks like a more straightforward prospect than the labyrinthine narrative digressions that characterize Buñuel’s late masterworks, what with its outrageous yet cogently delineated account of a May-December amour fou. But if Southland Tales indeed represents the way the world ends, then bring on the cozy catastrophe. The two artists are clearly playing the role of flake pop-cultural shamans, but they’re also revealing the obsession with power and influence that drives performers of all kinds, including flower-child liberals. As Carrière has pointed out in the past, the entirety of Buñuel’s oeuvre can be said to occupy the space between two of cinema’s most striking images: the sliced-open eyeball that announces “the shock of the new” in Un Chien Andalou and the mended, yet still bloodied, bridal lace seen near the end of That Obscure Object of Desire. Liu opens the film on his friends, Zack Mulligan and Keire Johnson, as they execute breathtaking skateboard stunts, his camera following them with a propulsive fluidity. In such a rigidly un-empathetic climate, small misunderstandings beget tragedy. Cast: Gerard Butler, Morena Baccarin, David Denman, Hope Davis, Scott Glenn, Holt McCallany, Roger Dale Floyd, Andrew Bachelor, Merrin Dungey, Gary Weeks Director: Ric Roman Waugh Screenwriter: Chris Sparling Distributor: Universal Studios Home Entertainment Running Time: 119 min Rating: PG-13 Year: 2020 Release Date: February 9, 2021. He didn’t confine his critique to politically oriented groups that were active at the time (like Germany’s Red Army Faction), which is patently obvious when you consider the name of the terrorist organization that bombs the shopping arcade at the end of That Obscure Object of Desire: the Revolutionary Army of the Infant Jesus. The film is also no warhorse in the sound department but the DTS-HD Master Audio 7.1 mix is seamless, boasting crisp and clear dialogue levels and nicely localized surrounds, with the occasional jolts caused from the meteors crashing to the ground reverberating robustly across the entire soundstage. Yet Greaves’s project is singular in its power, for the way it wryly foregrounds filmic falsity while also providing glimpses of true insight into people’s behaviors. Also ported from the earlier release are excerpts from Jacques de Baroncelli’s 1929 silent film La Femme et le Pantin, a version of the same source material. During high-contrast nighttime shots, the depth and accuracy of the black levels is outstanding, while the sources of light illuminating the frame are consistently stable. Mizoguchi underscores a ruler’s privilege to enjoy what for others constitutes a merciless death, and this sequence climaxes with a shockingly explicit shot of the crucified lovers, which has a pared-down sense of iconography that would clearly inspire Martin Scorsese’s Silence. Scorsese culls various images together to offer a startlingly intense vision of America as place that, to paraphrase Dylan, essentially believes in nothing, following one demoralizing crisis after another. One sin fosters another and deceit interconnects each person in the entire community; their respective vices prohibit their individual departures. Indeed, almost as quickly as Philip marries Mary, he gets a second thorn in his side: Gilbert (Henry Daniell), the wife-beating neighbor who blackmails him upon learning of Huxley’s suspicions of the man’s guilt. Insert shots appear to capture bystanders looking on in discomfort as the pair bicker about sex, but off-screen directions suggest that they may be actual actors in the production. Playfully toying with Nietzsche’s concept of the Übermensch—references to Superman abound—across its sunny Los Angeles suburban setting, Murder by Contract efficiently probes a hipster hitman’s (Edwards) feelings of alienation, misogyny, and superiority with a cool, often uproarious wit and whimsy, while still sustaining a persistent sense of danger. Mizoguchi drops us without preamble into the house of Ishun, which is busy making calendars for royalty. A Story from Chikamatsu (The Criterion Collection) Kyoko Kagawa (Actor), Kazuo Hasegawa (Actor), Kenji Mizoguchi (Director) & 0 more Format: Blu-ray 4.7 out of 5 stars 13 ratings Much of Rolling Thunder Revue is composed of footage shot at the tour by cinematographers David Myers, Howard Alk, Paul Goldsmith, and Michael Levine, who have a collective eye that’s uncannily in sync with Scorsese’s own feverishly expressionistic sensibility. A GRIN WITHOUT A CAT: Resist & Exist. Cast: Patricia Ree Gilbert, Don Fellows, Jonathan Gordon, Bob Rosen, William Greaves, Audrey Henningham, Shannon Baker, Marcia Karp, Steve Buscemi Director: William Greaves Screenwriter: William Greaves Distributor: The Criterion Collection Running Time: 174 min Rating: 174 Year: 1968, 2005 Buy: Video. Ric Roman Waugh’s Greenland is, for better and worse, the most subdued disaster movie ever made featuring Gerard Butler and a humanity-killing comet. Greaves shoots on DV, exploiting the format’s then-primitive technology to test its various limitations and potential. Mizoguchi lingers on apprentices, salesmen, managers, and various couriers and servants as they bustle through Ishun’s house, fashioning lively and overflowing multi-planed images that are characteristic of his late-period filmography. Director: Martin Scorsese Distributor: The Criterion Collection Running Time: 142 min Rating: TV-MA Year: 2019 Release Date: January 19, 2020 Buy: Video. Which makes it all the more fitting that it’s not Labiche who jumpstarts the workers’ efforts to stop the train that’s moving the stolen paintings from leaving France, but tenacious train conductor Papa Boule, who’s played with curmudgeonly brio by one of the patron saints of French cinema, Michel Simon. History documents only one passing encounter between 1960s civil rights leaders Martin Luther King Jr. and Malcolm X, but a play being filmed for … Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. A booklet essay by Amy Taubin explores Greaves’s career and the impact of Symbiopsychotaxiplasm, while a collection of production notes from his journal reveal the considerable thought that shaped these superficially improvised works. Afterward, she fashions an identical elixir for herself. The former perspective innately belongs to Scorsese, our poet laureate of cinematic rock n’ roll, who’s rendered the rockers of his generation with the same conflicted adulation that he’s extended to gangsters. But the film becomes a lot harder to pin down after Cora learns of this relationship and threatens a scandal, leading Philip to orchestrate her death, or so the audience is led to believe. The second disc is a little lighter on extras but does feature a thorough analysis of The Phantom of Liberty in a 2017 video essay by film scholar Peter William Evans. With the aid of cinematographers Jean Tournier and Walter Wottitz, Frankenheimer bolsters the film’s sense of realism, sustaining an impressive level of verisimilitude through frequent use of wide, deep focus shots and a handful of elaborate, though never showy, dolly and tracking shots. _A Story from Chikamatsu_ (1954) was, until recently, better known by the less subtle title _The Crucified Lovers_. The hour-long documentary from 2006 provides an overview of Greaves’s career, attempting to build on the boost that he received with the re-release of Symbiopsychotaxiplasm and its sequel. When Osan’s family continually harrasses her for loans, Osan asks one of the scroll-master’s best apprentices, Mohei (Kazuo Hasegawa), for helpt. Kino shines a spotlight on an unsung Siodmak thriller and a particularly fine Charles Laughton performance. The intense focus on the intimacy between John, Allison, and their diabetic son, Nathan (Roger Dale Floyd), is rare for a film such as this. Ishun is a wealthy, but unsympathetic, master printer who has wrongly accused his wife and best employee of being lovers. Anyone familiar with Dylan will recognize that last sentiment as only partially figurative, as this is an artist who has been born again many times, who arguably initiated the now routine ritual of superstar reinvention. And it’s this insidious yet ambiguous political nature that characterizes Sátántangó as a distinctly Hungarian vision, in turn perpetuating its obscurity and qualifying its art. Dick’s influence permeates Southland Tales in a number of ways. Suffice it to say, the film’s narrative center of gravity comprises kidnapped action film star Boxer Santaros (Dwayne Johnson) and twin police officers Roland and Ronald Taverner (both played by Seann William Scott). The filmmakers write the woman off as irredeemable, while inviting our sympathy for Philip as he somewhat innocently befriends a young stenographer, Mary (Ella Raines), and subsequently courts her. The stereo mix hews closer to the original theatrical experience. Many of the theatrical release’s strengths and weaknesses emerge when comparing it to the Cannes cut, which runs almost 15 minutes longer. Naturally, his long-running collaboration with Béla Tarr is covered at length, and in some ways the musician-actor’s biography doubles as a tour of Tarr’s career from an emerging artist running a film club and personal studio to internationally acclaimed auteur. Arrow’s release gives viewers the opportunity to experience the original cut of Kelly’s freewheeling satire for the first time. The image has a bit of attractive grit, and details of the actors’ faces can sometimes be (appealingly) soft, but the compositions here have generally been rendered with a piercing clarity that honors the film’s formal beauty and exactitude. But only a handful of them, namely those collected in this Criterion set, almost entirely abandon traditional storytelling, allowing their networked narratives to tumble into, even interrupt, one another with perfect impunity. The set is rounded out with a smattering of photo galleries, theatrical trailers, and a gorgeous, colorful 120-page bound booklet with enlightening essays by the likes of film critic Simon Abrams and film historian Melanie Williams. The characters here are assembled in a hierarchy of domination and betrayal; it’s a trap where even the most secret conspiracy is disruptively repercussive. Though his films that would follow the succeeding years would have more of an impact artistically and socially (especially Street of Shame, which directly led to Japan outlawing prostitution), this semi-forgotten gem still holds as much power as it did upon its initial release. Other offerings are more film-specific: “Once Upon a Time: The Discreet Charm of the Bourgeoisie” is an intriguing making-of program from 2011 that dives deep into the sociopolitical context of the film, and a shorter making-of doc from 1972 allows members of the cast to reflect on their work with Buñuel. Director Imre Gyöngyössy (Sons of Fire) has described his Hungarian language as “very difficult” and culture as “very closed”—an assessment that explains the characteristic nature of Hungarian cinema and the reduced availability of these films outside the country, especially in the United States. Review: Fear of Rain Uses Mental Illness as Grist for the Tension Mill, Review: Barb and Star Go to Vista Del Mar, Where Comedy Dies a Slow Death, The Best Sci-Fi Movies on Netflix Right Now, The Best Horror Movies on Netflix Right Now, Review: The Hold Steady’s Open Door Policy Makes the Familiar Feel Fresh Again, Review: With V!bez, Vol. Some characters eventually reach a deep contentment, even in the face of extortion, financial ruin, and complete destruction, and there is a perpetual sense of optimism about it all. Time hasn’t dimmed the ability of these three late-period masterworks by the Spanish surrealist to provoke and confound. The contrast ratio is consistently very strong, allowing for inky blacks in the shadows and a wide range of grays that help give the films’ visuals a nicely textured look even in murkier sequences, like the rainy, nighttime murder scene in The Mob. This set provides a bumper crop of supplements across three discs. Everyone slowly starts to go a little screwy from keeping track of all of the film’s layers of self-awareness, and the actors amusingly recalibrate from the building confusion by falling back on reciting the kind of classical, stage-trained monologues that the film-within-the-film seeks to break down in favor of more spontaneous performances. Actively incorporating footage of Greaves presenting the first film at festivals and symposia and conducting interviews related to its revival even as he builds on it, Take 2 1⁄2 is a fascinating riff informed as much by how much its predecessor shaped other films as its own core narratives and devices. April 17, 2020 3:17 pm ‘Kick-Ass’ Turns 10: Matthew Vaughn Says “No Studio Would Touch It” & He Was “Desperate” To Make A Superhero Film. A Story From Chikamatsu (or, as my Australian DVD titles the film, The Crucified Lovers) is a film by Kenji Mizoguchi. Tasjan! Gradually, the skateboarding sequences give way to emotional confessions that reveal the fears that grip Zack, Keire, Liu, and their respective families. But where the tortured emotions and sense of dread felt by these characters are familiar staples of noir, even the weakest films here find unique and exciting ways of tackling their hard-boiled stories, thus allowing them to stand apart from their genre brethren. The audio, which is a 16-bit dual-mono track, is a step down from the 24-bit track included in the now out-of-print Twilight Time Blu-ray from 2015, but the mix is still robust enough to achieve a strong separation between aural elements, even in the film’s most chaotic action scenes. Showing all 27 external reviews. Waugh, then, sets his film in what feels like a recognizably real world, and in limiting our knowledge of the impending, planet-destroying event to only one family’s eyewitness observations, he provides his characters’ onerous quest with a sense of urgency and gravitas. In its final 15 minutes, Greenland leans into the rote spectacle-driven action that one expects from the average modern-day disaster flick, shifting its focus entirely to John and his family’s treacherous plane ride toward potential safety and the damage caused by the meteors lighting up the sky. Somewhat inexplicably, the doc is more or less randomly chopped up into three segments, and there’s no “play all” option. The Suspect is a complexly interwoven series of narrative entanglements, evoking more than a shade of Hitchcock. At last, the tables are turned on Greaves, presenting someone who affects the crews as much as the crews affect pedestrians. In a brutally concise gesture that communicates more physical violation than most films’ more explicit passages of sexual violence, Ishun slides his hand up and under the fabric covering Otama’s arm, referencing past visits to her bedroom. Though beholden to a dime-a-dozen scenario, the film conjures a densely atmospheric mood, and its swift pacing is perfectly in key with the fiery verbal banter that marks virtually every scene. A negative didn’t exist, which posed restoration challenges and a debate as to whether a cleaner presentation would compromise the reality of the event. But the film’s prevailing attention to character-building up to this point allows some of the more hackneyed, late-in-the-game moments of chaos to go down smoother than you might expect. From school, I try to impose my passion for Japanese cinema on all my friends.

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