Some recent Twilight Time releases showcase the value of melodrama as social critique and character study.
By turns funny and frightening, gripping and frustrating, David Lynch’s revival of Twin Peaks is a prodigiously inventive television epic.
Denis Villeneuve’s Blade Runner 2049 attempts to be a respectful follow-up to Ridley Scott’s ground-breaking original, but it ends up long, drab and ultimately unmemorable.
Recent Twilight Time releases trace the western from the frontier myth to post-’60s cynicism, with a side trip to post-war racial tension in Los Angeles.
Criterion’s exemplary release of Orson Welles’ Othello on Blu-ray presents both versions of one of the filmmaker’s most important films with an impressive collection of supplements which delve into the production and meaning of one of the most original cinematic adaptations of Shakespeare’s work.
An eclectic assortment of recent viewing, including an obscure short feature from England, a couple of westerns old and new, and a pair of Elmore Leonard adaptations.
Darren Aronofsky’s mother! (2017) is a religious allegory disguised as a horrific comedy of social unease. Original and completely unhinged, it features an excellent cast and audacious imagery which has been unsettling and confusing audiences and critics.
Kelly Reichardt’s Certain Women (2016) is a jewel of the art and craft of filmmaking, an intensely emotional and ultimately heartbreaking study of character and landscape.
Two recent releases uncover fascinating fragments of cinema history: G.W Pabst’s dramatically powerful and technically innovative early sound films Westfront 1918 (1930) and Kameradschaft (1931) from Masters of Cinema and Samuel Beckett’s sole foray into movies Film (1965) paired with Ross Lipman’s “kino-essay” about the production Notfilm (2015) together in a dual-format release from the BFI.
The older I get, the more often I hear of the death of people who have touched my life in some way. This summer seems to have been worse than most.