A couple of recent disappointments from Indicator – excellent editions of two mediocre movies (Guy Hamilton’s Force 10 From Navarone  and Paul Annett’s The Beast Must Die ) – are offset by the terrific French television series of adaptations from the Maigret novels and stories by Georges Simenon, fifty-four feature-length movies centred on a magisterial performance by Bruno Cremer as the famous detective.
Shameless is a British label dedicated to exploitation movies (with a mission statement emphasizing sleaze and outrage) which has been issuing mostly Italian genre titles for more than a decade with mixed results in terms of quality; thanks to a recent on-line sale, I just binged some of their releases which cover the spectrum in terms of quality (both technical and creative).
When my friend Howard came over for an evening of movie-watching recently, we ended up with a highly idiosyncratic double-bill of problematic features, one representing self-conscious art, the other polished commercial craft – neither entirely satisfying: Josej Von Sternberg’s The Saga of Anatahan (1953) and Sidney Gilliat’s Endless Night (1972).
While they form one of the main building blocks of society, families are often mysterious when viewed from the outside, providing opportunities for mystery, suspense and horror since we began telling ourselves stories. Outsiders who penetrate the strange membrane between community and family may be faced with codes and rituals which can turn dangerous … as in four recently viewed movies: Curtis Harrington’s Night Tide (1961) and Games (1967), Freddie Francis’ Mumsy, Nanny, Sonny & Girly (1970) and Ted Post’s The Baby (1973).
Criterion’s exemplary Blu-ray release of Alan Pakula’s second feature, Klute (1971), offers a superb 4K scan from the original negative and extensive extras which highlight the film’s importance in the evolution of American cinema at a particularly turbulent time in both politics and popular culture, with a particular emphasis on Jane Fonda’s development as both actor and activist.
Style trumps substance in several recently viewed movies: from Stefano Sollima’s troubling depiction of mythic threats on the U.S. southern border in Sicario: Day of the Soldado (2018) to Julius Avery’s disappointing exploitation of World War Two horrors for cheap thrills in Overlord (2018), from Drew Goddard’s ersatz Tarantino-like narrative play in Bad Times at the El Royale (2018) to Kenneth Branagh’s glossy rehash of Agatha Christie’s Murder on the Orient Express (2017).